Ian Dawson's Blog, page 21
October 13, 2021
Writer’s Workshop Wednesday: Judy Blume
The author of twenty-nine books, Judy Blume, is an author who is no stranger to writing about complex subjects that young adults encounter in their everyday lives. She surprisingly is also a member of the Banned Books Club. Like the late Beverley Cleary, Judy Blume’s books were a library staple when I was growing up. Her stories continue to engage and entertain readers today.
Blume was 27 when she began to think of writing as a career. After two years of rejections, she finally published her first novel, The One in the Middle is the Green Kangaroo, in 1969. Other books for children and young adults include: Are You There God? It’s Me, Margaret (1970), Tales of a Fourth Grade Nothing (1972), Blubber (1974), Freckle Juice (1978), Superfudge (1980), and Here’s to You, Rachel Robinson (1993).
Blume has also written four adult-centered novels, collaborated on two short story collections, and authored three non-fiction books.
In the 1980s, Blume’s young adult novel, Are You There God? It’s Me, Margaret, was targeted for censorship by schools due to its openness about mensuration and religion. The book has been on the American Library Association’s Top 100 most frequently challenged books since the 80s, ranking 60th. In 2000, the book almost made it off the list, dropping to 99th. The latest 2010-2019 list has Are You There God? off the top 100.
Check out the latest list to see if books you’ve read are on it, HERE.
Learn more about Judy Blume and her books at her OFFICIAL WEBSITE.
Below are a few interviews with Blume as she talks about her life, her writing, and censorship.
Enjoy!
Judy Blume 1
Judy Blume 2
Judy Blume 3
Judy Blume 4
Judy Blume 5
Judy Blume 6
Back in two weeks with another great author!
Blume was 27 when she began to think of writing as a career. After two years of rejections, she finally published her first novel, The One in the Middle is the Green Kangaroo, in 1969. Other books for children and young adults include: Are You There God? It’s Me, Margaret (1970), Tales of a Fourth Grade Nothing (1972), Blubber (1974), Freckle Juice (1978), Superfudge (1980), and Here’s to You, Rachel Robinson (1993).
Blume has also written four adult-centered novels, collaborated on two short story collections, and authored three non-fiction books.
In the 1980s, Blume’s young adult novel, Are You There God? It’s Me, Margaret, was targeted for censorship by schools due to its openness about mensuration and religion. The book has been on the American Library Association’s Top 100 most frequently challenged books since the 80s, ranking 60th. In 2000, the book almost made it off the list, dropping to 99th. The latest 2010-2019 list has Are You There God? off the top 100.
Check out the latest list to see if books you’ve read are on it, HERE.
Learn more about Judy Blume and her books at her OFFICIAL WEBSITE.
Below are a few interviews with Blume as she talks about her life, her writing, and censorship.
Enjoy!
Judy Blume 1
Judy Blume 2
Judy Blume 3
Judy Blume 4
Judy Blume 5
Judy Blume 6
Back in two weeks with another great author!
October 10, 2021
Writing Tip of the Week: Giving Yourself Permission as a Writer
Creativity begins within the privacy of our minds. We all have thoughts, ideas, plans, goals, and dreams, but not everyone takes those elements and artistically expresses them. Whether through writing, art, dance, song, or film, creative expression can be a hurdle that prevents many from getting their vision out of their head and into a tangible space.
But why? Why do creative people often have hang-ups and issues taking what they know in their heads and hearts is a good idea and making it more than a passive internal flirtation with their Muse?
I think it comes from fear.
Fear that what’s in your head won’t translate to the page on the first try. Fear that people won’t enjoy or understand your intentions with the creative work you’ve molded and shaped for months or years. Fear of rejection, of failure, of the unknown.
But you haven’t written a word yet, so how do you know any of the above will happen?
You don’t.
And you won’t know if it will be a success or not until you give yourself permission to get the ideas out of your head.
Today, I’m going to offer up five statements for you to think about the next time you’re hesitant about bringing an idea to life. Remember that this initial version of the idea is for your eyes only. Take the fear out of the equation. Know that you and your words are in their own Circle of Trust.
Now, I encourage you, whenever doubt creeps in, or fear enters your mind as you embark on a new creative endeavor, that you say one or all of these statements to yourself to help move your forward in your creative journey:
I Give Myself Permission to…Write Badly with Pride
You can’t edit what doesn’t exist, and every writer has to start their story at some level of quality, so don’t be afraid to write crap in exchange for knowing you can go back and fix it later. The key is to get the ideas on the page so they can evolve.
Be proud that you wrote them down and now can make them better.
I Give Myself Permission to…Change Things in the Story That Aren’t Working
Outlines, Beat Sheets, Notecards, and other forms of structuring your story are great but don’t marry yourself to what you planned out 100%. Give yourself the ability to go on tangents and explore new possibilities, new story arcs, and new character developments.
A story is a road trip. You’re going from Point A to Point B, but a few detours to some unknown places can always add to the adventure. Allow yourself to travel these pathways and see what happens.
I Give Myself Permission to…Challenge Myself as a Writer
If you ever wanted to explore writing in a new genre or medium, do it. If you write short stories but want to write a screenplay, learn what it takes to format and create a 110-page screen story and make it a reality. If you are a novelist who writes romance and want to try writing horror, go for it.
Experimenting and challenging yourself as a writer gives you the ability to stretch your creative muscles. Along the way, you may pick up some writing advice from this other area that can help strengthen the genre or medium you are comfortable in.
This can also be used as a writing exercise. You challenge yourself to write a paragraph without using a certain commonly overused word like ‘that,’ or even challenging yourself to write stronger dialogue or description.
I Give Myself Permission to…Accept Constructive Criticism as Helpful
The word ‘Constructive’ is the key here. If it’s advice or notes that can make your writing stronger, or assist in making your future work better, then add that to your toolbox. If it’s not something that will help you now or in the future, ignore it.
I once gave notes to a woman on her screenplay. She had a Russian character who was always drunk on Vodka. I said that this was a cliché, and she should consider changing some aspect of the character to make him less of a stereotype. Her response: “F-ck you!” Needless to say, that was when we parted ways because this was the least of the scripts issues, and if she was unable to handle something fairly benign, I knew my other notes would not be helpful, either.
My goal was to help make her script stronger and better, but she was focused on the criticism and not the constructive aspect. When you receive a note on your work, divorce yourself from being its creator. Ask yourself if you were reading this as an outsider, would you have the same comment or question? More than likely, yes.
Remember: Constructive = Helpful.
I Give Myself Permission to…Have Fun When Writing!
No matter what you write, you have to enjoy the process, enjoy the journey, and enjoy what you’re working on. It’s reflected in your work. If you had a good time, invested in the characters and their story, laughed at their jokes, cried with their tragedies, and held your breath while they were in peril, you can bet the audience will do the same.
Passion can transfer from the page to the reader or from the screen to the viewer, and the more heart and energy and love and fun you put into it, the greater reward it is for the audience.
If you don’t like your story, figure out why and change it for yourself. Write the story you want to write, that you want to see, that you want people to enjoy.
I hope these statements or affirmations give you the permission your need to move past those blocks that plague all writers, new and experienced. You have a story to tell. Don’t let fear stop you from making it a reality.
Happy Writing, and I’ll see you in two weeks!
But why? Why do creative people often have hang-ups and issues taking what they know in their heads and hearts is a good idea and making it more than a passive internal flirtation with their Muse?
I think it comes from fear.
Fear that what’s in your head won’t translate to the page on the first try. Fear that people won’t enjoy or understand your intentions with the creative work you’ve molded and shaped for months or years. Fear of rejection, of failure, of the unknown.
But you haven’t written a word yet, so how do you know any of the above will happen?
You don’t.
And you won’t know if it will be a success or not until you give yourself permission to get the ideas out of your head.
Today, I’m going to offer up five statements for you to think about the next time you’re hesitant about bringing an idea to life. Remember that this initial version of the idea is for your eyes only. Take the fear out of the equation. Know that you and your words are in their own Circle of Trust.
Now, I encourage you, whenever doubt creeps in, or fear enters your mind as you embark on a new creative endeavor, that you say one or all of these statements to yourself to help move your forward in your creative journey:
I Give Myself Permission to…Write Badly with Pride
You can’t edit what doesn’t exist, and every writer has to start their story at some level of quality, so don’t be afraid to write crap in exchange for knowing you can go back and fix it later. The key is to get the ideas on the page so they can evolve.
Be proud that you wrote them down and now can make them better.
I Give Myself Permission to…Change Things in the Story That Aren’t Working
Outlines, Beat Sheets, Notecards, and other forms of structuring your story are great but don’t marry yourself to what you planned out 100%. Give yourself the ability to go on tangents and explore new possibilities, new story arcs, and new character developments.
A story is a road trip. You’re going from Point A to Point B, but a few detours to some unknown places can always add to the adventure. Allow yourself to travel these pathways and see what happens.
I Give Myself Permission to…Challenge Myself as a Writer
If you ever wanted to explore writing in a new genre or medium, do it. If you write short stories but want to write a screenplay, learn what it takes to format and create a 110-page screen story and make it a reality. If you are a novelist who writes romance and want to try writing horror, go for it.
Experimenting and challenging yourself as a writer gives you the ability to stretch your creative muscles. Along the way, you may pick up some writing advice from this other area that can help strengthen the genre or medium you are comfortable in.
This can also be used as a writing exercise. You challenge yourself to write a paragraph without using a certain commonly overused word like ‘that,’ or even challenging yourself to write stronger dialogue or description.
I Give Myself Permission to…Accept Constructive Criticism as Helpful
The word ‘Constructive’ is the key here. If it’s advice or notes that can make your writing stronger, or assist in making your future work better, then add that to your toolbox. If it’s not something that will help you now or in the future, ignore it.
I once gave notes to a woman on her screenplay. She had a Russian character who was always drunk on Vodka. I said that this was a cliché, and she should consider changing some aspect of the character to make him less of a stereotype. Her response: “F-ck you!” Needless to say, that was when we parted ways because this was the least of the scripts issues, and if she was unable to handle something fairly benign, I knew my other notes would not be helpful, either.
My goal was to help make her script stronger and better, but she was focused on the criticism and not the constructive aspect. When you receive a note on your work, divorce yourself from being its creator. Ask yourself if you were reading this as an outsider, would you have the same comment or question? More than likely, yes.
Remember: Constructive = Helpful.
I Give Myself Permission to…Have Fun When Writing!
No matter what you write, you have to enjoy the process, enjoy the journey, and enjoy what you’re working on. It’s reflected in your work. If you had a good time, invested in the characters and their story, laughed at their jokes, cried with their tragedies, and held your breath while they were in peril, you can bet the audience will do the same.
Passion can transfer from the page to the reader or from the screen to the viewer, and the more heart and energy and love and fun you put into it, the greater reward it is for the audience.
If you don’t like your story, figure out why and change it for yourself. Write the story you want to write, that you want to see, that you want people to enjoy.
I hope these statements or affirmations give you the permission your need to move past those blocks that plague all writers, new and experienced. You have a story to tell. Don’t let fear stop you from making it a reality.
Happy Writing, and I’ll see you in two weeks!
September 29, 2021
Writer’s Workshop Wednesday: Dean Koontz
While I’ve heard his name before, I read my first Dean Koontz novel earlier this year, Strangers (1986). Strangers is a mix of suspense and sci-fi. It was definitely an engaging book with interesting characters and an intriguing twist.
Koontz is a prolific suspense author whose first novel, Star Quest, was published in 1968. Since then, Koontz has written well over 100 books, including the Odd Thomas series, Frankenstein series, and Jane Hawk series. While known mainly for suspense, Koontz writes in many genres, including thriller, horror, and satire.
Koontz wrote several novels under pseudonyms, including John Hill, Deanna Dwyer, K.R. Dwyer, and David Axton. He used the names “after several editors convinced him that authors who switched back and forth between different genres invariably fell victim to ‘negative crossover,’” which could affect readership from established and new readers. The last novel he wrote under a pseudonym was 1987’s Shadow Fires under the pen name Leigh Nichols.
I definitely want to read more of his books, and my interest is piqued by the Frankenstein series.
To check out his Official Website, click HERE.
Check out the interviews below where Koontz talks about his career, writing, and his varied works.
Enjoy!
Dean Koontz 1
Dean Koontz 2
Dean Koontz 3
Dean Koontz 4
Dean Koontz 5
Dean Koontz 6
Dean Koontz 7
Back in two weeks with another great author!
Koontz is a prolific suspense author whose first novel, Star Quest, was published in 1968. Since then, Koontz has written well over 100 books, including the Odd Thomas series, Frankenstein series, and Jane Hawk series. While known mainly for suspense, Koontz writes in many genres, including thriller, horror, and satire.
Koontz wrote several novels under pseudonyms, including John Hill, Deanna Dwyer, K.R. Dwyer, and David Axton. He used the names “after several editors convinced him that authors who switched back and forth between different genres invariably fell victim to ‘negative crossover,’” which could affect readership from established and new readers. The last novel he wrote under a pseudonym was 1987’s Shadow Fires under the pen name Leigh Nichols.
I definitely want to read more of his books, and my interest is piqued by the Frankenstein series.
To check out his Official Website, click HERE.
Check out the interviews below where Koontz talks about his career, writing, and his varied works.
Enjoy!
Dean Koontz 1
Dean Koontz 2
Dean Koontz 3
Dean Koontz 4
Dean Koontz 5
Dean Koontz 6
Dean Koontz 7
Back in two weeks with another great author!
September 26, 2021
Writing Tip of the Week: Finding a Beta Reader
Writing can be a very personal and intimate experience. Your internal thoughts, feelings, ideas, and actions leave your brain and settle onto the page. If you’re writing in a private journal or diary, these thoughts and feelings can remain secret, with no possibility of them being displayed publicly.
But if you’re writing for people to eventually read or see your work in the public sphere, it’s essential to have people around you to read and critique your work before it is out for the world to see. Consider these people a buffer, a set of eyes that can see your work from a different perspective, and someone who isn’t afraid to give you feedback that will make them work better.
A Beta Reader is an excellent resource for anyone to have in their writing toolbox.
What Exactly Is a Beta Reader?
A Beta Reader is the first fresh set of eyes to read your work and offer constructive feedback. Once you are confident that you have a completed novel, non-fiction book, short story, play, or screenplay, a Beta Reader is an independent third party that can help you make the work better.
This person can help point out story problems, plot holes, continuity problems, or other aspects that don’t work. At the same time, they are an ideal audience to see if what you wished to convey on the page was successful.
A Beta Reader’s feedback should be helpful, pointed, specific, and detailed. If what they tell you is too vague or generalized (“I don’t like your hero, Mark, but I don’t know why”), then the information isn’t helpful.
Beta Reader vs. Editor
A Beta Reader is for the creative side of writing (story, plot, continuity), while an Editor looks for technical issues (spelling, grammar, syntax, word choice). Both are essential to the writing process, but each has their own skills to contribute.
Obviously, a Beta Reader can find spelling or grammar errors and an Editor can give you feedback about story or character issues, but each does serve a different purpose in the grand scheme of things.
So, how can you find a Beta Reader that fits your needs?
Who Do You Know?
Is there someone in your circle of friends that likes your writing? Someone supportive that takes an interest in what you’re working on but offers constructive advice if asked? Do you have a friend with opinions about films and TV shows that you respect? This might be the person to ask.
You want someone open-minded, who likes the genres you write in, and can focus on the specific areas you want them to provide feedback on and give comments and suggestions that strengthen the work.
Obviously, being a Beta Reader is a time commitment on the person’s part. After all, you’re asking them to read a 500-page manuscript or a 110-page screenplay, so there are hours of work ahead of them. If you have someone in mind, ask them if they would be interested in reading your work and giving you feedback.
If they say yes, that’s great. If not, and you’re out of people you can trust and rely on, there are Beta Reader services you can pay to help you out.
So, what about my mom or my brother-in-law? Could I use them as a Beta Reader?
Well, I suggest that you…
Look Outside Your Family
Unless you can compartmentalize and keep your writer life and personal life separate, I recommend finding a Beta Reader outside your family circle. I feel this is a wise move since you don’t want to get false praise that negatively impacts the work, and you also don’t want to get criticism that leads to a rift in the relationship.
This doesn’t mean you can’t use a family member, but I’d like to think that keeping the Beta Reader outside the family is a good way to stave off future trips to a family therapist or a segment on Dr. Phil.
Start With A Sample
But let’s say you have a friend or former coworker who is on board and wants to help. Great. If they haven’t read anything of yours for a while, give them a sample of your work. As them to focus on one or two things (i.e., description and pacing), and see what they come back with.
Don’t just toss the pages out there and say good luck; give them specifics about what you want them to look for. Based on their feedback, you’ll be able to tell if they are a good fit. If you have to pump the information out of them or they are afraid to be critical, this isn’t a good match. At the same time, if their feedback is too harsh, it won’t work, either.
The key is to find a healthy balance where the feedback you receive strengthens the weaknesses, and the positive comments keep you motivated to get onto the next draft.
To Pay or Not to Pay?
I pay my Beta Reader for his time. It’s the right thing to do, and it also makes him take the job seriously. He’s been hired to do a job, deliver what is asked of him, and I give him a logical deadline to read the manuscript (a couple weeks at least), take notes, and have a meeting with me to discuss his feedback.
If you take it professionally, your Beta Reader will, too.
Patience is a Virtue
It may take time to find someone who has the time to assist you during this process. As I said above, it’s a time commitment on their part, and you are entrusting them with your manuscript with the hope that their feedback will make it better. If you’re not happy with the feedback you get from someone or feel it’s lacking, you can always look for someone else.
A Beta Reader is a part of your team. Just like with dating, sometimes it takes a while to find the right person. But once you do, you know you’ve found your ideal match.
All writers need feedback. All writers need a trusted source of constructive criticism and positivity. Finding a Beta Reader that meets these criteria can be a great motivator to keep the words flowing since you have a trusted person available that can help make you a better writer.
Do you have a Beta Reader? What have been your experiences? Leave a comment and let me know!
But if you’re writing for people to eventually read or see your work in the public sphere, it’s essential to have people around you to read and critique your work before it is out for the world to see. Consider these people a buffer, a set of eyes that can see your work from a different perspective, and someone who isn’t afraid to give you feedback that will make them work better.
A Beta Reader is an excellent resource for anyone to have in their writing toolbox.
What Exactly Is a Beta Reader?
A Beta Reader is the first fresh set of eyes to read your work and offer constructive feedback. Once you are confident that you have a completed novel, non-fiction book, short story, play, or screenplay, a Beta Reader is an independent third party that can help you make the work better.
This person can help point out story problems, plot holes, continuity problems, or other aspects that don’t work. At the same time, they are an ideal audience to see if what you wished to convey on the page was successful.
A Beta Reader’s feedback should be helpful, pointed, specific, and detailed. If what they tell you is too vague or generalized (“I don’t like your hero, Mark, but I don’t know why”), then the information isn’t helpful.
Beta Reader vs. Editor
A Beta Reader is for the creative side of writing (story, plot, continuity), while an Editor looks for technical issues (spelling, grammar, syntax, word choice). Both are essential to the writing process, but each has their own skills to contribute.
Obviously, a Beta Reader can find spelling or grammar errors and an Editor can give you feedback about story or character issues, but each does serve a different purpose in the grand scheme of things.
So, how can you find a Beta Reader that fits your needs?
Who Do You Know?
Is there someone in your circle of friends that likes your writing? Someone supportive that takes an interest in what you’re working on but offers constructive advice if asked? Do you have a friend with opinions about films and TV shows that you respect? This might be the person to ask.
You want someone open-minded, who likes the genres you write in, and can focus on the specific areas you want them to provide feedback on and give comments and suggestions that strengthen the work.
Obviously, being a Beta Reader is a time commitment on the person’s part. After all, you’re asking them to read a 500-page manuscript or a 110-page screenplay, so there are hours of work ahead of them. If you have someone in mind, ask them if they would be interested in reading your work and giving you feedback.
If they say yes, that’s great. If not, and you’re out of people you can trust and rely on, there are Beta Reader services you can pay to help you out.
So, what about my mom or my brother-in-law? Could I use them as a Beta Reader?
Well, I suggest that you…
Look Outside Your Family
Unless you can compartmentalize and keep your writer life and personal life separate, I recommend finding a Beta Reader outside your family circle. I feel this is a wise move since you don’t want to get false praise that negatively impacts the work, and you also don’t want to get criticism that leads to a rift in the relationship.
This doesn’t mean you can’t use a family member, but I’d like to think that keeping the Beta Reader outside the family is a good way to stave off future trips to a family therapist or a segment on Dr. Phil.
Start With A Sample
But let’s say you have a friend or former coworker who is on board and wants to help. Great. If they haven’t read anything of yours for a while, give them a sample of your work. As them to focus on one or two things (i.e., description and pacing), and see what they come back with.
Don’t just toss the pages out there and say good luck; give them specifics about what you want them to look for. Based on their feedback, you’ll be able to tell if they are a good fit. If you have to pump the information out of them or they are afraid to be critical, this isn’t a good match. At the same time, if their feedback is too harsh, it won’t work, either.
The key is to find a healthy balance where the feedback you receive strengthens the weaknesses, and the positive comments keep you motivated to get onto the next draft.
To Pay or Not to Pay?
I pay my Beta Reader for his time. It’s the right thing to do, and it also makes him take the job seriously. He’s been hired to do a job, deliver what is asked of him, and I give him a logical deadline to read the manuscript (a couple weeks at least), take notes, and have a meeting with me to discuss his feedback.
If you take it professionally, your Beta Reader will, too.
Patience is a Virtue
It may take time to find someone who has the time to assist you during this process. As I said above, it’s a time commitment on their part, and you are entrusting them with your manuscript with the hope that their feedback will make it better. If you’re not happy with the feedback you get from someone or feel it’s lacking, you can always look for someone else.
A Beta Reader is a part of your team. Just like with dating, sometimes it takes a while to find the right person. But once you do, you know you’ve found your ideal match.
All writers need feedback. All writers need a trusted source of constructive criticism and positivity. Finding a Beta Reader that meets these criteria can be a great motivator to keep the words flowing since you have a trusted person available that can help make you a better writer.
Do you have a Beta Reader? What have been your experiences? Leave a comment and let me know!
September 15, 2021
Writer’s Workshop Wednesday: Grady Hendrix
While I was on vacation this summer, I bought The Final Girl Support Group by horror author Grady Hendrix, intrigued by its cover and premise. I had never read anything by Hendrix before, but I was immediately drawn into the story and the myriad twists that came along the way.
While Final Girl is his latest novel, Hendrix has also written many other novels, including My Best Friend’s Exorcism, We Sold Our Souls, and The Southern Book Club’s Guide to Slaying Vampires; and the non-fiction books Paperbacks from Hell: The Twisted History of ‘70s and ‘80s Horror Fiction, and Dirt Candy: A Cookbook (which he co-authored with his wife).
Hendrix was born in Charleston, South Carolina and worked in a library before becoming a professional writer. He has written articles for Playboy, The New York Post, and The New York Sun. He’s also a screenwriter, a playwright, and writes short stories.
Check out his official website HERE.
Below are some interviews with Grady Hendrix where he talks about his works and his process.
Enjoy!
Grady Hendrix 1
Grady Hendrix 2
Grady Hendrix 3
Grady Hendrix 4
Grady Hendrix 5
Grady Hendrix 6
Grady Hendrix 7
Back in two weeks with another great author!
While Final Girl is his latest novel, Hendrix has also written many other novels, including My Best Friend’s Exorcism, We Sold Our Souls, and The Southern Book Club’s Guide to Slaying Vampires; and the non-fiction books Paperbacks from Hell: The Twisted History of ‘70s and ‘80s Horror Fiction, and Dirt Candy: A Cookbook (which he co-authored with his wife).
Hendrix was born in Charleston, South Carolina and worked in a library before becoming a professional writer. He has written articles for Playboy, The New York Post, and The New York Sun. He’s also a screenwriter, a playwright, and writes short stories.
Check out his official website HERE.
Below are some interviews with Grady Hendrix where he talks about his works and his process.
Enjoy!
Grady Hendrix 1
Grady Hendrix 2
Grady Hendrix 3
Grady Hendrix 4
Grady Hendrix 5
Grady Hendrix 6
Grady Hendrix 7
Back in two weeks with another great author!
September 12, 2021
Writing Tip of the Week: Writing a Fearless First Draft
The ominous blank page. Whether it’s a blank page flashing a taunting cursor from a screen, or a lined notebook daring you to fill its pages with ink, it can sometimes be challenging to get your brain and body moving in the same creative direction.
Every day, we see films, novels, and TV shows that move and amaze us. But what we don’t see are the hundreds of hours of hard work, gallons of coffee or energy drinks, and the multitude of drafts that went into making what you’re watching or reading available for mass consumption.
The drive for perfection of the first try can be a detriment to creativity. We demand perfection from ourselves, it doesn’t happen off the bat, so we beat ourselves up and walk away. But nothing we see or read is the first draft. Nothing we see or read didn’t start as something worthy of the recycle bin.
Everyone’s first draft sucks.
And that’s okay. If we were given insight into the early drafts of any best-seller or Oscar-winning film, we would be surprised to see that what is considered the standard of great writing starts off as mediocre at best…and unsalvageable at the very least.
I say this to tell you that writing the first draft of anything need not be a perilous and disastrous endeavor. Quite the opposite, in fact. First drafts are supposed to be bad. That’s why they’re called first/rough drafts.
So, let’s talk about them.
For Your Eyes Only
First a foremost, this draft is for you. No one else. Not your significant other. Not your Beta reader. Not your favorite child or pet. You are the sole audience for this version of your story, and that’s that.
This is a place where you can openly write ideas, dialogue, description, and more that might be pushing limits or boundaries. This is the place to test out ideas and story threads to see where they go. This is the place to have fun with what you’re writing. You are the Creator in this world; what you decide to do is what happens.
This draft should be unfiltered, unedited, and uninhibited. While you’ll want to have a basic road map guiding where the story is headed, don’t let that stop you from shifting your imagination and creativity into overdrive in this draft.
You can always change it later. The important thing here is to get everything down and out of your head so it can be fixed in subsequent drafts, because whatever you do…
Don’t Look Back!
You finished a chapter last night and woke up this morning with a new idea to change what you wrote. Great. That means your creativity is doing its job, but don’t return to that chapter and attempt to edit it. Why not write a new version of the chapter with the new material instead?
Writing a first draft is about momentum, the momentum to get from the beginning to the end without the pitfalls and hazards or going back and editing and revising. You’ll have plenty of time for that later. Plus, what if you erase what you had and then realize later there was some dialogue you deleted that would’ve worked great in the revised version? Now it’s gone.
Keep it all in the first version and do that heavy lifting later.
Write the Fun Stuff First
We all have our favorite things to write. It could be action sequences, romantic scenes, or comedy moments that really help drive the story and are fun for you to write. These moments are likely the big payoff to a long buildup, so writing them can be an enjoyable experience.
However, we shouldn’t deny ourselves the opportunity to write these when we want to. Write them when you feel like writing them. When it comes to drafting, you always have the power to rearrange and change where chapters or scenes are located in the story’s world. If you want to write the big finale first, do it. Have a romantic scene that you’re itching to write? Write it.
While there may be traditional story structures needed when you put the story out there for the world, in the drafting phase, you can write what you want, when you want. And no one can stop you.
The Creative Brain on Auto-Pilot
Sometimes your characters will begin to dictate what they want to do, what they want to say, and where they want to go. Don’t fight this feeling; let them take you there. Often your subconscious knows what’s best for your story and can take you places you didn’t initially think of.
This isn’t some weird phenomenon; it does happen. And if it does, let your characters take the wheel. Remember, if they steer the story down a wrong path, you can fix it later. If they show you something fresh and new about your story or characters, it can be a great win for you and your story.
Getting here requires you to tell that evil, no good, despicable part of your brain to shut up and go on vacation. And that part is…
The Evil Voice of Doubt and Negativity
This horrible creature likes to loom around your creativity, giving making you unsure of what you’re writing, how you’re writing it, and if you should even be writing.
I sure hate this creature!
There are 24 hours in a day. Give this monster a few hours off as your write and keep them locked out as you work on your draft. This is all for you, not anyone else, so this evil creature is wasting your time by creeping into your head as you charge forward. Even if the monster makes a good point about a scene or chapter, make a note or rewrite the chapter, but keep going.
Creativity is a big enough challenge at times without this specter of negativity floating about.
When You Feel Blocked…
Writer’s block does happen, but it’s how you handle it that makes the difference. I would suggest when you do hit a wall moving on to another part of the story or work on another project to keep the creativity flowing.
It’s very tempting – and I’ve done this – to close the laptop, lay on the couch, and watch TV instead of writing. While this is a quick fix, it doesn’t get you to your goal of finishing your draft and moving on to the next project.
Do your best to stay focused and stay on track. You may falter, but don’t let the block prevent you from writing for too long.
Have Fun!
As I said before, this draft is your time to play. It’s your time to test out ideas, see how they work or don’t work, and see if your characters take you anywhere new.
If you are bored with your story, have lost interest, or are dreading writing this draft, then there may be something wrong with your story, not you. What is the reason you aren’t excited to write? What aspect of the story is holding you back?
Unless you are writing this draft as part of an assignment, reevaluate your story and see where the issues are. Maybe you are challenging yourself to write in an unfamiliar genre, or you don’t like the main character. Whatever it is, make the changes you need to make the process enjoyable.
Writing is a journey. It’s a process. It’s a challenge. And it’s something that can become addictive in a positive way. As you begin to write your first/rough draft, remember that Stephen King, Jordan Peele, Grady Hendrix, and Maya Angelou all had to start with an idea, a blank page, and a first draft.
You can only get better once you have the first version out of your head and out on the page.
Happy writing, and I’ll see you in two weeks!
Every day, we see films, novels, and TV shows that move and amaze us. But what we don’t see are the hundreds of hours of hard work, gallons of coffee or energy drinks, and the multitude of drafts that went into making what you’re watching or reading available for mass consumption.
The drive for perfection of the first try can be a detriment to creativity. We demand perfection from ourselves, it doesn’t happen off the bat, so we beat ourselves up and walk away. But nothing we see or read is the first draft. Nothing we see or read didn’t start as something worthy of the recycle bin.
Everyone’s first draft sucks.
And that’s okay. If we were given insight into the early drafts of any best-seller or Oscar-winning film, we would be surprised to see that what is considered the standard of great writing starts off as mediocre at best…and unsalvageable at the very least.
I say this to tell you that writing the first draft of anything need not be a perilous and disastrous endeavor. Quite the opposite, in fact. First drafts are supposed to be bad. That’s why they’re called first/rough drafts.
So, let’s talk about them.
For Your Eyes Only
First a foremost, this draft is for you. No one else. Not your significant other. Not your Beta reader. Not your favorite child or pet. You are the sole audience for this version of your story, and that’s that.
This is a place where you can openly write ideas, dialogue, description, and more that might be pushing limits or boundaries. This is the place to test out ideas and story threads to see where they go. This is the place to have fun with what you’re writing. You are the Creator in this world; what you decide to do is what happens.
This draft should be unfiltered, unedited, and uninhibited. While you’ll want to have a basic road map guiding where the story is headed, don’t let that stop you from shifting your imagination and creativity into overdrive in this draft.
You can always change it later. The important thing here is to get everything down and out of your head so it can be fixed in subsequent drafts, because whatever you do…
Don’t Look Back!
You finished a chapter last night and woke up this morning with a new idea to change what you wrote. Great. That means your creativity is doing its job, but don’t return to that chapter and attempt to edit it. Why not write a new version of the chapter with the new material instead?
Writing a first draft is about momentum, the momentum to get from the beginning to the end without the pitfalls and hazards or going back and editing and revising. You’ll have plenty of time for that later. Plus, what if you erase what you had and then realize later there was some dialogue you deleted that would’ve worked great in the revised version? Now it’s gone.
Keep it all in the first version and do that heavy lifting later.
Write the Fun Stuff First
We all have our favorite things to write. It could be action sequences, romantic scenes, or comedy moments that really help drive the story and are fun for you to write. These moments are likely the big payoff to a long buildup, so writing them can be an enjoyable experience.
However, we shouldn’t deny ourselves the opportunity to write these when we want to. Write them when you feel like writing them. When it comes to drafting, you always have the power to rearrange and change where chapters or scenes are located in the story’s world. If you want to write the big finale first, do it. Have a romantic scene that you’re itching to write? Write it.
While there may be traditional story structures needed when you put the story out there for the world, in the drafting phase, you can write what you want, when you want. And no one can stop you.
The Creative Brain on Auto-Pilot
Sometimes your characters will begin to dictate what they want to do, what they want to say, and where they want to go. Don’t fight this feeling; let them take you there. Often your subconscious knows what’s best for your story and can take you places you didn’t initially think of.
This isn’t some weird phenomenon; it does happen. And if it does, let your characters take the wheel. Remember, if they steer the story down a wrong path, you can fix it later. If they show you something fresh and new about your story or characters, it can be a great win for you and your story.
Getting here requires you to tell that evil, no good, despicable part of your brain to shut up and go on vacation. And that part is…
The Evil Voice of Doubt and Negativity
This horrible creature likes to loom around your creativity, giving making you unsure of what you’re writing, how you’re writing it, and if you should even be writing.
I sure hate this creature!
There are 24 hours in a day. Give this monster a few hours off as your write and keep them locked out as you work on your draft. This is all for you, not anyone else, so this evil creature is wasting your time by creeping into your head as you charge forward. Even if the monster makes a good point about a scene or chapter, make a note or rewrite the chapter, but keep going.
Creativity is a big enough challenge at times without this specter of negativity floating about.
When You Feel Blocked…
Writer’s block does happen, but it’s how you handle it that makes the difference. I would suggest when you do hit a wall moving on to another part of the story or work on another project to keep the creativity flowing.
It’s very tempting – and I’ve done this – to close the laptop, lay on the couch, and watch TV instead of writing. While this is a quick fix, it doesn’t get you to your goal of finishing your draft and moving on to the next project.
Do your best to stay focused and stay on track. You may falter, but don’t let the block prevent you from writing for too long.
Have Fun!
As I said before, this draft is your time to play. It’s your time to test out ideas, see how they work or don’t work, and see if your characters take you anywhere new.
If you are bored with your story, have lost interest, or are dreading writing this draft, then there may be something wrong with your story, not you. What is the reason you aren’t excited to write? What aspect of the story is holding you back?
Unless you are writing this draft as part of an assignment, reevaluate your story and see where the issues are. Maybe you are challenging yourself to write in an unfamiliar genre, or you don’t like the main character. Whatever it is, make the changes you need to make the process enjoyable.
Writing is a journey. It’s a process. It’s a challenge. And it’s something that can become addictive in a positive way. As you begin to write your first/rough draft, remember that Stephen King, Jordan Peele, Grady Hendrix, and Maya Angelou all had to start with an idea, a blank page, and a first draft.
You can only get better once you have the first version out of your head and out on the page.
Happy writing, and I’ll see you in two weeks!
August 11, 2021
Writer’s Workshop Wednesday: Jack Ketchum
An author whose novels are not for the faint-of-heart or the squeamish, writer Jack Ketchum has been described by Stephen King as “the scariest man in America.” There’s no doubt in my mind that there is something to King’s view of Ketchum. I have read many of his novels and the images that he paints with words stick with you long after you’ve finished the book and moved on to other, less disturbing, fare.
And yet, his writing style makes you return for another graphic and horror-filled tale from this master of his craft.
From 1981 to 2017, Ketchum authored 27 works that range from short fiction to novels. His unique voice and his ability to ignore critical views of his work – the Village Voice has referred to his writing as ‘violent pornography’ – have made him an iconic voice in horror fiction.
Sadly, Ketchum passed away in 2018, but his works live on through print and film and TV adaptations.
Check out his official site HERE.
Below are some interviews where Ketchum speaks about his works and his craft.
Enjoy!
Jack Ketchum 1
Jack Ketchum 2
Jack Ketchum 3
Jack Ketchum 4
Back in two weeks with another great author!
And yet, his writing style makes you return for another graphic and horror-filled tale from this master of his craft.
From 1981 to 2017, Ketchum authored 27 works that range from short fiction to novels. His unique voice and his ability to ignore critical views of his work – the Village Voice has referred to his writing as ‘violent pornography’ – have made him an iconic voice in horror fiction.
Sadly, Ketchum passed away in 2018, but his works live on through print and film and TV adaptations.
Check out his official site HERE.
Below are some interviews where Ketchum speaks about his works and his craft.
Enjoy!
Jack Ketchum 1
Jack Ketchum 2
Jack Ketchum 3
Jack Ketchum 4
Back in two weeks with another great author!
August 8, 2021
Sunday Edition of Writer’s Workshop Wednesday: New Stephen King Interviews & A Conversation with Stephen King and George R.R. Martin
Stephen King is one of my favorite authors of all time. In honor of his newest novel, Billy Summers, here are some new interviews about the book, and a Q&A with King and Game of Thrones author George R.R. Martin.
Enjoy!
King on Good Morning America
King on The View
King Reads from Billy Summers
Stephen King & George R.R. Martin Interview
Back in two weeks with another writing series!
Happy writing!
Enjoy!
King on Good Morning America
King on The View
King Reads from Billy Summers
Stephen King & George R.R. Martin Interview
Back in two weeks with another writing series!
Happy writing!
July 28, 2021
Writer’s Workshop Wednesday: Suzanne Collins
In 2008, readers were introduced to Katniss Everdeen, a young woman who literally put her life on the line to save her sister in the dystopian young adult novel, The Hunger Games. Two more novels would be published in the series: Catching Fire in 2009, and Mockingjay in 2010. In 2012, this trilogy, from author Suzanne Collins, ranked as the second most popular teen book series (Harry Potter was #1).
2012 also saw the premiere of the film adaptation of The Hunger Games starring Jennifer Lawrence as Katniss. The film grossed $694.4 million at the box office and the final two books were also adapted into films (the final book into two films).
Collins was inspired to write the novel while watching TV and switching between reality shows and the new about the war in Iraq. She stated that: “I was tired, and the lines began to blur in this very unsettling way.” And a novel series emerged.
Read the full interview HERE.
The Hunger Games prequel novel, The Ballad of Songbirds and Snakes was released in 2020 and instantly was a best-seller.
While her name is synonymous with this series, she also has written a kid-friendly fantasy series, The Underland Chronicles, which debuted in 2003; and a children’s book, When Charlie McButton Lost Power, in 2005.
Below are some interviews with Collins where she talks about her works and her creative process.
Check out her official site HERE.
Enjoy!
Suzanne Collins 1
Suzanne Collins 2
Suzanne Collins 3
Suzanne Collins 4
Suzanne Collins 5
Suzanne Collins 6
2012 also saw the premiere of the film adaptation of The Hunger Games starring Jennifer Lawrence as Katniss. The film grossed $694.4 million at the box office and the final two books were also adapted into films (the final book into two films).
Collins was inspired to write the novel while watching TV and switching between reality shows and the new about the war in Iraq. She stated that: “I was tired, and the lines began to blur in this very unsettling way.” And a novel series emerged.
Read the full interview HERE.
The Hunger Games prequel novel, The Ballad of Songbirds and Snakes was released in 2020 and instantly was a best-seller.
While her name is synonymous with this series, she also has written a kid-friendly fantasy series, The Underland Chronicles, which debuted in 2003; and a children’s book, When Charlie McButton Lost Power, in 2005.
Below are some interviews with Collins where she talks about her works and her creative process.
Check out her official site HERE.
Enjoy!
Suzanne Collins 1
Suzanne Collins 2
Suzanne Collins 3
Suzanne Collins 4
Suzanne Collins 5
Suzanne Collins 6
July 25, 2021
Writing Tip of the Week: Story Structure – Final Thoughts
We’ve been on quite a journey the past several weeks. From exploring the Beginning of a story through the tumultuous Middle, and to its climactic End, we have seen how these elements combine into a narrative structure that is commonplace in most commercial stories today.
As you develop your story, think about how you can take these different areas and make them your own, creating a powerful, compelling, and intriguing narrative that will grab readers from the start and have them furiously reading until the very last page.
With that in mind, let’s look at a few things to consider as you craft a story.
Plot-Driven of Character-Driven?
What is affecting the main character that is driving them to action? Is it an external or internal force? If it’s an external force, you are dealing with a more plot-driven story. If it’s an internal force, you’re looking at a character-driven one.
Most action movies are plot-driven. There’s an external incident that pushes the main character into action. Steve Rogers doesn’t become Captain America if there’s not a war effort going on. Batman doesn’t jump into action if the Joker doesn’t inflict his criminal insanity on Gotham City. While we do see these characters change due to their external circumstances, they are not driven forward by those internal forces in terms of the story being told.
Dramas and some comedies are more character-driven. An event may spur the main character into action, but they are in control of their circumstances. There may be external forces at work against them, but the hero’s internal drive and internal obstacles are what the audience is banking on. When you watch or read these stories, we watch to see how the hero is impacted internally by what’s happening. American Beauty and Nomadland are two great examples of character-driven drama. We are watching the main character’s internal evolution and how that impacts their external circumstances.
When you sit down to flesh out your story, ask yourself what’s driving your main character forward? Is it an internal motivation or an external force?
Take the Time to Outline
There’s are two terms that writers often use to describe the two types of writers: Plotters and Pantsers. Basically, a Plotter outlines their story; a Pantser throws caution to the wind and “flies by the seat of their pants.” Now, while both are fine, I recommend that before you put pen to paper or start typing your story, you at the very least jot down a basic guide of where the story is going.
Like many writers, I have had an idea for a story and started writing only to lose steam a few pages in? Why? I didn’t take the time to work on a basic guide to see where the story would go and how it might end.
When you plan a road trip, you usually look at a map and decide where you’ll stop for food, gas, a hotel, etc. on your journey. Winging it may result in you getting lost, running out of gas with no station for miles, or turning down a road that leads to nowhere. Not planning ahead in a story can have similar consequences.
I’m not saying you have to detail every single minute detail that happens in each chapter. But you should afford yourself the courtesy of knowing the significant events that will take the story and your characters in a new direction. Are they set in stone? No. But at least you have a story event that you are working toward. If it changes, it changes. But you have a goal to write toward in the meantime.
Ask yourself the basics:
• What’s my character doing at the start of the story?
• What inciting incident moves them onto a new track and changes their goal?
• Who is their antagonist?
• What is the antagonist doing to prevent the hero from reaching their goal?
• What big turning point occurs that sends them in a new direction in pursuit of that goal?
• What event takes place that makes them realize there’s no turning back?
• What major event makes them almost give up and lose hope, but they get back up and fight anyway?
• How do they confront the antagonist? How do they move forward after achieving their goal?
Now you have a map with major landmarks to write toward.
Don’t Be Afraid to Make Changes
A work of fiction is a living document. Things can be added, cut, changed, removed, or altered in any way they need to serve the story. And that’s the key: everything exists to serve your story.
Your rough draft is “rough” for a reason. You now have a manuscript that you can edit and change to make the story and characters stronger. The drafting process takes time, and as you write more, you’ll find a process that works best for you.
Since it’s your story, instinctually, you will know when something isn’t working, if a character seems out of place and should be removed, or if the dialogue isn’t realistic. Take your time and be brave enough to make the changes that will make your story stronger.
Enjoy the Process
You have to love your story and your characters. That love will shine through on the page. Unless you are writing for an assignment, you have free reign to write whatever you want, however you want, and that means you have the power to control character, story, dialogue, and all the other elements that go into your story.
Writing a novel, a play, a screenplay, even a short story or poem can be a lengthy, time-consuming, and often lonely task. If you loathe what you’re working on, then you won’t get very far. Love your story. Love your protagonist and antagonist. Love your setting and dialogue.
Finding that passion and enjoyment in what you’re writing will go a long way to making sure you not only complete the project but you’re proud of what you wrote and want to dive back in to make it even better the next time around.
If you are having problems with what you’re writing, take a step back and ask why. Why am I now enjoying this? What can I do to make this story more enjoyable and make it less of a task and more of an engaging creative escape?
I encourage all of you the next time you sit down to write – whether it’s a new story or one you’ve been working on – to ask yourself what you love about it and what motivates you to finish it. Then let your creativity and energy go to work.
This series has been a lot of fun, and I’ve enjoyed sharing my thoughts about story structure with you over the past few months. In two weeks, I’ll be starting a new series, so make sure to stop by and have a look.
Happy writing, and I’ll see you next time!
Check out the entire Story Structure series below:
Story Structure: The Beginning - Part One
Story Structure: The Beginning - Part Two
Story Structure: The Middle - Part One
Story Structure: The Middle - Part Two
Story Structure: The End
As you develop your story, think about how you can take these different areas and make them your own, creating a powerful, compelling, and intriguing narrative that will grab readers from the start and have them furiously reading until the very last page.
With that in mind, let’s look at a few things to consider as you craft a story.
Plot-Driven of Character-Driven?
What is affecting the main character that is driving them to action? Is it an external or internal force? If it’s an external force, you are dealing with a more plot-driven story. If it’s an internal force, you’re looking at a character-driven one.
Most action movies are plot-driven. There’s an external incident that pushes the main character into action. Steve Rogers doesn’t become Captain America if there’s not a war effort going on. Batman doesn’t jump into action if the Joker doesn’t inflict his criminal insanity on Gotham City. While we do see these characters change due to their external circumstances, they are not driven forward by those internal forces in terms of the story being told.
Dramas and some comedies are more character-driven. An event may spur the main character into action, but they are in control of their circumstances. There may be external forces at work against them, but the hero’s internal drive and internal obstacles are what the audience is banking on. When you watch or read these stories, we watch to see how the hero is impacted internally by what’s happening. American Beauty and Nomadland are two great examples of character-driven drama. We are watching the main character’s internal evolution and how that impacts their external circumstances.
When you sit down to flesh out your story, ask yourself what’s driving your main character forward? Is it an internal motivation or an external force?
Take the Time to Outline
There’s are two terms that writers often use to describe the two types of writers: Plotters and Pantsers. Basically, a Plotter outlines their story; a Pantser throws caution to the wind and “flies by the seat of their pants.” Now, while both are fine, I recommend that before you put pen to paper or start typing your story, you at the very least jot down a basic guide of where the story is going.
Like many writers, I have had an idea for a story and started writing only to lose steam a few pages in? Why? I didn’t take the time to work on a basic guide to see where the story would go and how it might end.
When you plan a road trip, you usually look at a map and decide where you’ll stop for food, gas, a hotel, etc. on your journey. Winging it may result in you getting lost, running out of gas with no station for miles, or turning down a road that leads to nowhere. Not planning ahead in a story can have similar consequences.
I’m not saying you have to detail every single minute detail that happens in each chapter. But you should afford yourself the courtesy of knowing the significant events that will take the story and your characters in a new direction. Are they set in stone? No. But at least you have a story event that you are working toward. If it changes, it changes. But you have a goal to write toward in the meantime.
Ask yourself the basics:
• What’s my character doing at the start of the story?
• What inciting incident moves them onto a new track and changes their goal?
• Who is their antagonist?
• What is the antagonist doing to prevent the hero from reaching their goal?
• What big turning point occurs that sends them in a new direction in pursuit of that goal?
• What event takes place that makes them realize there’s no turning back?
• What major event makes them almost give up and lose hope, but they get back up and fight anyway?
• How do they confront the antagonist? How do they move forward after achieving their goal?
Now you have a map with major landmarks to write toward.
Don’t Be Afraid to Make Changes
A work of fiction is a living document. Things can be added, cut, changed, removed, or altered in any way they need to serve the story. And that’s the key: everything exists to serve your story.
Your rough draft is “rough” for a reason. You now have a manuscript that you can edit and change to make the story and characters stronger. The drafting process takes time, and as you write more, you’ll find a process that works best for you.
Since it’s your story, instinctually, you will know when something isn’t working, if a character seems out of place and should be removed, or if the dialogue isn’t realistic. Take your time and be brave enough to make the changes that will make your story stronger.
Enjoy the Process
You have to love your story and your characters. That love will shine through on the page. Unless you are writing for an assignment, you have free reign to write whatever you want, however you want, and that means you have the power to control character, story, dialogue, and all the other elements that go into your story.
Writing a novel, a play, a screenplay, even a short story or poem can be a lengthy, time-consuming, and often lonely task. If you loathe what you’re working on, then you won’t get very far. Love your story. Love your protagonist and antagonist. Love your setting and dialogue.
Finding that passion and enjoyment in what you’re writing will go a long way to making sure you not only complete the project but you’re proud of what you wrote and want to dive back in to make it even better the next time around.
If you are having problems with what you’re writing, take a step back and ask why. Why am I now enjoying this? What can I do to make this story more enjoyable and make it less of a task and more of an engaging creative escape?
I encourage all of you the next time you sit down to write – whether it’s a new story or one you’ve been working on – to ask yourself what you love about it and what motivates you to finish it. Then let your creativity and energy go to work.
This series has been a lot of fun, and I’ve enjoyed sharing my thoughts about story structure with you over the past few months. In two weeks, I’ll be starting a new series, so make sure to stop by and have a look.
Happy writing, and I’ll see you next time!
Check out the entire Story Structure series below:
Story Structure: The Beginning - Part One
Story Structure: The Beginning - Part Two
Story Structure: The Middle - Part One
Story Structure: The Middle - Part Two
Story Structure: The End
