Elizabeth Spann Craig's Blog, page 4

LitLinks

 

by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

Happy Easter!

Why Your New Year Writing Goals May Fail to Get Results: by Nina AmirGet Story Ideas: 10 Simple (But Potent) Methods: by Debbe Geiger7 Novels About Women Over 40: by Colleen OakleyThe Best Villains in Literature Bracket: The Hateful 8: from Literary HubThe Best Villains in Literature Bracket: The Fearsome 4: by Literary HubFeed The Writer: With Books: by Jan Sikes5 Lessons I Learned from My 30-Day Writing Challenge: by Grace EkauseWant to Make Real Progress in Writing? by April DávilaWant to Write Faster? How Tracking Your Word Count Can Boost Your Productivity: by Nicole Bross @janefriedman.comSix Questions Every Author Should Ask: The Self-Publishing with ALLi Podcast Featuring Matty Dalrymple: Take Back Your Own Story: from Fox Print EditorialDesigning Bestselling Covers: Casey Moses, Cover Designer: from Good Story CompanyWhat Artificial Intelligence Can’t Give a Writer: by James Scott BellDealing with the Negative: from the Insecure Writer’s Support GroupSome Keys to Achieving Confidence in Your Writing: by Jenny HansenDreaming of a New Reality Characters: by Charles YallowitzPoverty in Crime Fiction: @mkinberg.bsky.socialDoctor’s Offices in Crime Fiction: @mkinberg.bsky.socialBecoming a Screenwriter: Tamsin Larby’s Journey and Insights: from Katy SegroveHow to Write an Author Bio: from KindlepreneurReaders Should Know What to Expect From Your Story: Vivat’s Julia Orlova: Ukraine’s Print Runs Are Rising: by Jaroslaw AdamowskiHow to Publish a Book on Amazon (KDP Publishing): by Polly WattSelf-Publishing Assistance Is Becoming Threatened: by @amcarley.bsky.social at @janefriedman.comHow to Write a Good Query Letter: by Ronald KovachHow to Prepare an eBook in Word: by L. Diane Wolfe for the IWSGThe Lit Hub Staff’s Favorite Villains: Dwyer Murphy on Patricia Highsmith’s Tom Ripley: What Makes a Good Villain: 5 Step Checklist: by Robinette WatersonCharacter Secret Thesaurus: Hiding Wealth: by Becca PuglisiHow To Write A Likeable Character: by Lucy V. HayHow to Show Emotional Volatility: by Angela AckermanTuning Up Your Second Fiddles: by PJ Parrish37 Days of Shakespeare, Day 29: Macbeth: by Matt BirdWhat is symbolism and how to use it in your writing: by Robbie Cheadle7 Tips To An All Villain Story: by Charles YallowitzThe Problem With Following Popular Story “Structures”: by Oren AshkenaziMaking Your Story Intuitive: from MythcreantsHow to Master the Passage of Time in Fiction: by CS LakinFive Tips to Tame Your Timeline: by Clea SimonHow to Use Luck in Your Novel: by Shannon A. ThompsonHow to Foreshadow: by Marilynn ByerlyWriting For Contests: by Amy ArmstrongQuick Plotting Tip: Write Your Story Backwards: by Bucket SilerThe perils of panic editing: by Daphne Gray-GrantMaking Real Settings Feel Real to Your Readers: 7 Tips for Writers: by Helena FairfaxHow to Find the Perfect Online Writing Course for Your Goals: by Leigh Shulman

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Readers Should Know What to Expect From Your Story

by Elizabeth S. Craig, @elizabethscraig

I’ve both read a book and watched a movie recently that had bad reviews because the audience thought they were going to read/watch one thing and were delivered something very different.

This can probably be carried off if you have a rewarding twist of some kind. Gone Girl, which starts out as a missing person story before transforming into a psychological thriller and From Dawn to Dusk, which begins as a crime thriller before morphing into something very different come to mind. But there wasn’t a rewarding twist in these cases.

In the case of the film, the show’s premise operated as a kind of MacGuffin…an irrelevant plot device. Viewers thought they were watching a movie about the disappearance of the daughter of two police officers. The disappearance was only a set-up, though, and the means to propel the story in a totally different direction.

Maybe this could have worked with more skillful handling, but according to reviews, viewers were frustrated, calling the plot a “deception.” No one likes to feel they’ve been duped, especially if there’s not a payoff in terms of a cool twist or a satisfying ending (and resolution of the original plot point, MacGuffin or not).

The book was marketed as a different genre than it was. It was promoted as a mystery, but the focus of the plot was a romance, and the mystery faded into the background.

If a publisher is trying to market a book inappropriately, the author should push back. And independent writers should be careful not to mischaracterize a genre or plot with category metadata, the cover, and the book description. Otherwise, reader backlash could prove pretty tough.

Have you found yourself reading or watching something that ended up very different from what you thought it was?

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LitLinks

 

by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

How to Vet a Book Publicist Before You Hire One: by Michael La Ronn and Sacha BlackTips for Conferences: by Terry Odell10 Creative Writing Exercises to Spark Your Imagination: by Leigh Shulman8 Novels Set in Strange Unsettling Towns That Will Haunt You: by Jon Bassoff‘Reduced to nonsense’: JRR Tolkien’s irritation with typist revealed in archive: by Dalya Alberge5 Tips for Your Writing Life: 7 Writing Retreats Around the World For Emerging and Established Writers: by Ben C. DaviesWe’re all on a hero’s journey: using archetypes to understand who’ll help you achieve your writing goals: @rozmorris.bsky.socialIntuition, Journaling, And Overcoming Fear. The Creative Cure With Jacob Nordby: Dodging the Scarcity Trap: by Anne Janzer @janefriedman.com17 tips for how to deal with overwhelm: by Daphne Gray-GrantLess Stress, More Words: A No-Burnout Plan for Writers: by Lisa NormanWriting: Picking Up the Stories from the Back Burner: by Linda S. ClareCharacters in Crime Fiction Who Care for Animals: @mkinberg.bsky.socialCrime Fiction: In The Spotlight: Richard Dallas’ A Master Hand: The Story of a Crime: @mkinberg.bsky.socialHow to Turn Everyday Moments into Captivating Short Stories: by Leigh Shulman11 Tips to Craft Irresistible Blog Post Titles That Attract New Visitors: by Hugh RobertsBlogging is still a great way to reach readers: by Anne R. AllenHow to Connect with Readers: The Power of the Single Audience Member: from Story Grid3 Unconventional Ways to Market Your Book Using Only the Cover: by Savannah Cordova from the IWSGThe Growing Influence of Podcasts: by Beem Weeks13 Author Websites That Look Great on Mobile Devices: by Rick BurnesSerialized Fiction Today: by CS BoyackRejection: Why You Need a Plan B: by Rochelle MelanderFour Ways to Invite Your Reader In: by Shutta CrumThe Best Villains in Literature Bracket: from Literary HubCharacter Secret Thesaurus: Knowing Where a Body Is Buried: by Becca PuglisiThe Power of Perspective in Creating Characters: by CS LakinDeepen Your Character Development Using Personality Theory: by Selene Grace SilverWhy Characters’ Skills Are SO Important To Your Story: from Bang2writeHow to Choose the Perfect Talent for Your Character: by Becca PuglisiFive Principles For Writing Kick Ass Action Scenes: by Brian AsmanWriting Dialogue – What to Leave Out: from Fan to FictionIs my Character a Latino Mechanic Stereotype? from Writing With ColorA Guide to Writing Disabled Characters: Finding Sensitivity Readers: Flow Beat Sheet Analysis: by Cory MillesRomancing the Reader: by James Scott BellUnworkable Story Choices: from MythcreantsHow Stephen King Learned to Write: Playing with Time: by Debbie BurkeWriting Your Ending First: by Ann GordonSetting Up: Finessing the When and Where: by Stephen GeezWhat Is Developmental Editing And When Do You Need It? by Elaine DodgeHow to Make Your Fantasy World Feel Real: 6 Pillars of Organic Worldbuilding: by K.M. WeilandThe Shadow Before — Thoughts on Foreshadowing: by James R. Preston

 

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5 Tips for Your Writing Life

by Elizabeth S. Craig, @elizabethscraig

Today I thought I’d share just a few things that help me make my writing life just a little easier. Maybe some of them will work for you, too. Remember, the key to a productive writing life is finding what works best for you. Consider experimenting with these tips and adapting them to fit your unique style and circumstances.

Put your writing on your planner. And . . . bonus tip. . .  have a planner. If you’re juggling writing along with parenting, caregiving, jobs, chores, and errands, you need something to keep you organized. You don’t have to have anything expensive. Use Google’s or Outlook’s calendar or, if you like paper like I do, try a free calendar from Calendarpedia. I just print a weekly calendar, print it on my printer, then use a 3-hole punch and a 3-ring binder.

Write straight through. This will work well for some writers, although some might be horrified by the idea. I write straight through my first draft without pausing to put in chapter breaks. If I’m not sure what I want to name a character, I put in a placeholder name.  If I need to research something, I put in asterisks so I know where to come back and add factual info. Use a distinctive placeholder format (e.g., [CHARACTER_NAME] or ###RESEARCH_NEEDED###) to make them easy to find later.

If there’s something you’re weaker at, do it in a batch and add it later. For me, it’s description. So I’ll write my first draft  then I’ll describe everything I need to describe in one go: characters, the setting, a feeling, whatever. When I work in batches like this, it unlocks something in my brain, making it easier for me to do it. Maybe it’s because I’m in the flow. Then I layer it into the draft.

Take breaks. Organize your breaks. Try the Pomodoro Technique – work for 25 minutes, then take a 5-minute break. After four cycles, take a longer 15-30 minute break. Sadly, I’m one of those people who likes optimizing everything, even my free time. But I find I can actually relax easier and more completely if I have something really absorbing to occupy my time. I keep up with a watchlist on various streaming companies and have a to-be-read list on my private Goodreads account.

Have a dedicated workspace.  I touched on this recently. It really helps me get into the writing mindset when I sit down in a spot that’s for work. This doesn’t have to be a home office . . . for me, it’s just a chair in my sunroom. Make sure you have an ergonomic setup to prevent any future issues.

What are some of your tips for the writing life?

 

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LitLinks

 

by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

Beyond Book Sales: How Authors Are Expanding into Physical Products: from the Alliance of Independent Authors9 Books That Will Make You Want To Go Outside And Touch Grass: by Erin Dorney7 Essential Domestic Psychological Thrillers: by Susan MooreMake Time to Write No Matter What: by Shirley JumpBusiness Musings: Doing The Work Amid The Noise: by Kristine Kathryn RuschEditing, Revision, and Giving Up on a Story: from Fox Print EditorialFacing Self-Doubt Throughout the Writing Process: by Nicole PylesAI And The Novel: Can A Million Monkeys Be Wrong? by PJ Parrish5 Things Writers Can Learn From Spring Training: by Stuart HorwitzNot Everyone Is Your Audience: from Fox Print EditorialThe Six Questions That Will Transform Your Fantasy Worldbuilding: by Nicholas C. RossisHow to Create Fantasy Characters Readers Will Obsess Over: by Shannon A ThompsonThis Memoir Could Have Been an Email: Telling Your Story With Different Forms of Communication: by Jennifer Landau @janefriedman.comThe Need for Financial Security as an Element in Crime Fiction: @mkinberg.bsky.socialWriting Procedurals: When You’re Not a Lawyer, Doctor or Cop: by Rebecca ForsterExploring Memory Loss in Horror and Thriller Novels: by Jon BassoffYou’ve Got to Know What You’re Doing When Writing for Children: by Karen CioffiHow to Write Science Fiction: Tips: by Brandi BadgettAI is Changing How Readers Find You—Here’s How to Stay Visible: by Fauzia BurkeHow Important are Influencers? by Jacqui MurrayWhat Does Your Book Sound Like? by Jodi M. WebbWhat to Do When Your Book Stops Selling: by Chad R. AllenCould More Thoughtfully Crafted Books Change Our Relationship with Reading? by Emilie-Noelle ProvostAre Publishers Dropping Blurbs (Endorsements) in Books? by Lisa TenerWriter Boualem Sansal: Now Sentenced to Five Years: by Porter AndersonA New Scam to Watch For: “Pre-Paid” Agent Commissions: @victoriastrauss.bsky.social6 First Page Inclusions for Drawing Readers In: by Becca PuglisiHow to Get a Novel Started: 7 Steps: by Meredith Sue WillisYour Character’s Three Choices: Character Goal Examples for Writers: by K.M. WeilandWriting Redemptive Characters: by Linda S. ClareHow Do I Prevent Readers From Blaming My Hero? by Chris WinkleDialogue And The Times: by Terry OdellWhat a Trip! Your Story Roadmap: by Ali CrossDoes Your Protagonist Need Supporting Characters? by Karen CioffiThe Hidden Architecture of a Great Story: Structure and Plot: by April DávilaWriting Character Choices That Feel Real and Meaningful: from Story GridBest Ways to Pace Your Story’s Key Moments: by Lisa PoissoAuthors Make Bold Choices With Their Book Titles: by Nancy JohnsonSometimes It IS About the Research: by Christina Larocco @janefriedman.comTop 20 Mistakes Developmental Editors See in Manuscripts: by Jenn Windrow10 Quick Tips To Self-Edit Your Screenplay Or Novel: from Bang2writeWriting Fictional Settings:

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Writing Fictional Settings

by Elizabeth S. Craig, @elizabethscraig

When I was starting to write my Memphis BBQ series in about 2009 (assigned as a writer-for-hire for Penguin), I packed up and my husband and two young kids went to Memphis. I needed to get the lay of the land, and I was getting an incomplete picture of the city from the internet. There I toured the restaurants, listened to the music on Beale Street, and took in the sights. The last thing I wanted to do was make any mistakes and hear back from readers who were more familiar with Memphis than I was. It worked out well, and I didn’t get any negative feedback.

After that, though, I doubled down on writing fictional settings. My next series was the quilting series, also with Penguin (before the merger with Random House). The publisher wasn’t keen, this time, on me having a series of murders in a real town in the NC mountains. So Dappled Hills came to be. Then Whitby, then Sunset Ridge. I already had Bradley.

In some ways, using a fictional setting is a lot easier than using a real-life one. In some ways, it’s harder. You have to keep track of where everything is in your fictional town. I understand there are apps that can create maps for you, if you like that approach. But there’s definitely another way: base your towns on places you actually know.

The town I grew up in is a lot like Bradley, NC . . . right down to the duck pond. The downtown of Dappled Hills is very similar to a mountain vacation town I know of. It helps keep me straight, without worrying about the accuracy needed for a real town.

Consistency is important, whether it’s a real town or a made-up one. And basing the town on something you know well can really help.

Are the towns in your books real or fictional? What tips can you add?

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LitLinks

 

by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

It’s Strictly Business: by James Scott BellEssential Business Principles Every Author Should Know: from the Alliance of Independent AuthorsHow to Write for Periodicals: by Linda S. ClareUK: The £30,000 Women’s Prize for Nonfiction Shortlist: by Porter Anderson75 Writing Prompts for Authors: by Brandi Badgett7 Creative Writing Tips to Spark Your Imagination: by Leigh Shulman9 Novels That Shine a Light on the Privileged Class of Society: by Katie BloomerThe Autogolpe and Other Things Lost in Translation: by Elizabeth HuergoCrime Fiction: In The Spotlight: Joy Ann Ribar’s Shake-speared in the Park: @mkinberg.bsky.socialDo Great Writers Know the Ending First? by K.M. WeilandHow to get more sleep: by Daphne Gray-Grant12 Perks of Being Married to an Author: by Julie Klassen’s husbandAn Invisibility Cloak of the Self: Jane Tara on Being Told She Was Going Blind in Her Forties: What Writing About Pain Can Do for You: by Edward RogoffCreating Compelling Characters in High Fantasy Stories: by Stuart ConoverRomantasy: An Old Genre with a New Name: by Rosemary JonesThe Biggest Memoir Mistake: When Too Much Backstory Derails Your Narrative: by Lisa Cooper Ellison @janefriedman.comIdealist Characters in Crime Fiction: @mkinberg.bsky.socialThe First Mystery Novel: by Kay DiBiancaHow Women Are Upending the Action Thriller: by Gillian McAllisterHow to Fix Commenting Issues on WordPress Email Notifications: A Simple Solution: by Hugh RobertsAuthor Swag and Merch: Does it Help Sell Books? by H. R. Sinclair at the IWSGIs BookBub About to Change Author Websites Forever? by Lisa NormanThe benefits – and costs – of winning an argument with your editor: by Josh BernoffUK Publishers Association, Cambridge, Call out Meta and Piracy in Generative AI Training: by Porter AndersonHow to Nail Your Book Cover Design — with Marketing in Mind: by Nick BaileyAuthor Complaints at Clear Fork Press: by @victoriastrauss.bsky.socialFirst Page Critique: At the Monster’s Mercy: by Dale Ivan SmithCrafting Characters Using the 7 Types of Listening: by Jenny HansenListening for Characters’ Distinctive Voices: by N.L. HolmesCharacter Secret Thesaurus: Helping Someone Die with Dignity: by Becca PuglisiHow to Avoid Flat Characters in Your Story: by Angela AckermanHow to Create Memorable Characters in a Story: by Eileen GoudgeWhen To End a Story: by Charles YallowitzStory Non-Negotiable: The Key to Writing Stories That Resonate: from Story GridThe Five Types of Narration Every Novel Needs: by Chris WinkleRetelling Public Domain Stories: from MythcreantsStamp out vague catchalls in your writing: by Nathan BransfordIf the Relationship is the Primary Plot (A Story), What is the Secondary (B Story)? by September C FawkesA Perfect Match: Marrying Character and Plot: by Rachel DempseyHow to Plot Your Story Using the But/Therefore Method: by Bucket SilerThe Semicolon: by D. Wallace Peach3 Little Words That Will Unlock Your Revision: by Monica Cox @janefriedman.comColors and How They Can Enhance our settings and characters: Yellow: by Jan SikesSmall fantasy worldbuilding elements you might want to think about: by Bucket Siler

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When Things Are Far More Than Just Things

 

By Patricia Crisafulli, @TrishCrisafulli

I was on my way to a writers’ conference where I was teaching a workshop on the objective correlative—a rather complicated way of saying “things that are far more than just things” because they trigger emotions in characters and readers, alike. The night before, I had combed my memory and my bookshelves for what I thought were three solid examples: the stolen painting in Donna Tartt’s The Goldfinch, the sorcerer’s stone in Harry Potter, and “Rosebud,” the little wooden sled in Citizen Kane.

Then, at a stoplight, about fifteen minutes away from the workshop, I absentmindedly reached for the amethyst pendant I had put on that morning. Fingering the stone, I fondly recalled how my late father had given me this necklace many years ago. Suddenly, I remembered something else.

Decades ago, when I was a twenty-something living in New York, my mother paid an impromptu visit. Before she arrived, I hid several pieces of jewelry, including the amethyst pendant, because I didn’t want her to see the presents Dad had been sending to cheer me up during a difficult time. Against the backdrop of my parents’ turbulent marriage, I feared that jewelry could spark a conflict between Mother and me and spoil the weekend.

Soon after Mother arrived, though, I felt uneasy. I told her about the jewelry—and about quite a few other things in our family dynamic that troubled me as well. She listened intently, told me not to worry, and we proceeded to have a really good weekend. A short while later, Mother told me a secret of her own. She had stage four cancer. Three and a half months later, she died.

All those emotions contained in that simple pendant on a gold chain. Here was my objective correlative and, although I felt vulnerable sharing it, I told this story at the workshop. I was particularly gratified when, during some free writing time, several people came up to me and shared their own discoveries after reflecting on the objects in their lives.

 

The Power of Things

For essayists and memoirists, following the trail of emotions triggered by a scrapbook, an old photograph, or other memento can lead to stories waiting to be told. Similarly, as fiction writers—and, more specifically, as mystery novelists—we can tap into the power of things to reveal the emotional landscape of our stories, from heartbreaking loss to toxic greed. In fact, the way our characters interact with things reveal far more about them than any description.

Here are some thoughts for making the most of the things that are far more than just things.

The Thing Itself. Objects are part of our stories’ settings—perhaps antique china on the table and lacy curtains at the window, or maybe dented garbage cans heaped with refuse outside the grimy door of a bar. But that’s only description. Somewhere in the mix there may be an emotionally charged object—a cherished memento, a lucky talisman, a beloved heirloom—that means far more. In my Ohnita Harbor Mysteries, I create fictional artifacts that feature prominently in each of my novels—a 14th century medieval cross, a 19th century nautical schematic, and, in my upcoming work, a Revolutionary War-era spy map. I devise a provenance for each, tracing its supposed path through history. But more important to the story is how these artifacts come to life as my characters interact with them.What’s the Emotion? By triggering emotions, a thing becomes more than a thing—and an object reaches the status of objective correlative. It could be longing for a simpler time, adoration of a loved one, sadness over lost innocence, the joy of a perfect day—and so much more. The opposite is also true—aversion, disdain, or downright hatred triggered by an object and everything associated with it. In my Secrets of Ohnita Harbor, a medieval artifact found in a pile of rummage sale donations evokes awe in some characters, religious fervor in others, and, for the antagonist, murderous greed.From Emotion to Motivation. As emotions are stirred for the characters, there’s a shift in motivation. Suddenly, a character is off on a quest to find a lost object—and maybe to find themselves in the process. Or a character may be so blinded by desire for the object (and the monetary value or status it conveys) that they’ll stop at nothing to possess it. Along the way, there’s sure to be entanglement or even danger. It’s not just an intellectual process of uncovering clues and piecing them together. It’s an emotionally wrought experience triggered by a thing that’s far more than just a thing.

 

Patricia Crisafulli is a New York Times bestselling author and an award-winning fiction writer. She launched her Ohnita Harbor Mystery Series with The Secrets of Ohnita Harbor (Woodhall Press, 2022) followed by the sequel, The Secrets of Still Waters Chasm. Her third book in the series, The Secrets of the Old Post Cemetery, will be released by Woodhall in fall 2025.

Objects tell emotional stories. Learn how @PCrisafulli uses 'things that are far more than just things' to create powerful character motivation:
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LitLinks

 

by Elizabeth S. Craig, @elizabethscraig

LitLinks are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 70,000 free articles on writing related topics. It’s the search engine for writers. While you’re there, check out the Writer’s Digest award-winning Hiveword novel organizer.

Have you visited the WKB lately?  Check out the new redesign where you can browse by category, and sign up for free writing articles, on topics you choose, delivered to your email inbox!  Sign up for the Hiveword newsletter here. Follow the WKB on Facebook here.

Story Editor: What They Are (+ How to Become One): by Polly Watt‘Rural Hours’: Harriet Baker Wins the UK’s Young Writer Award: by Porter AndersonSet Goals the DIY MFA Way: by Gabriela PereiraThree’s A Crowd: 5 Small-Set Novels with Problematic Pairings: by Nick Newman6 Of Our Favourite Children’s Writers: by Elaine DodgeCrime Fiction: In The Spotlight: Nick Davies’ El Flamingo: @mkinberg.bsky.social7 Stories About Women Coming of Age in Their 30s and 40s: by Emily J. Smith5 Strategies to Rekindle Your Writing Motivation: by Katy SegroveA Tiny Tomato a Day Keeps Writerly Woes at Bay: by Emma Olive Billington @janefriedman.comLoneliness, Love, and Literature: by David CorbettHow To Support Your Writer: by Margot ConorDesignated Writing Space: by Sue ColettaWriting Advice From Authors: Do the Work: from The Writer Magazine5 Proven Ways to Conquer Self-Doubt in Writing: by KM WeilandDon’t Send Yourself on a Guilt Trip: by Pat Hatt from the IWSGGiving voice to people who are often invisible: therapist-turned-novelist Michelle Tobin: @rozmorris.bsky.social
Too Intimidated (or Risk Averse) to Organize a Writing Retreat? by Amy Goldmacher @janefriedman.comGetting Real With Autofiction: by Amy ArmstrongMysteries in Which the Solution is Not Complex: @mkinberg.bsky.socialWhy We Are Drawn to Murder Stories: by Gin PhillipsWhat Happens When There’s a Crime in Antarctica? by R.S. BurnettRed Flags as an Element in Crime Fiction: @mkinberg.bsky.socialWhat Is Narrative Nonfiction? A Beginner’s Guide: by Leigh ShulmanWas My BookBub Featured Deal Worth It? See My Results: by Colleen M. Story7 Book Promo Ideas That Cost No Money: by Kayelle AllenHow to Improve Your Chances of Getting Published: by Michelle BarkerHow to Distribute Your Audiobook Globally: Featuring Anna FeatherstoneHow to Start a Book: 7 Steps to Writing an Unforgettable Opening: by Leigh ShulmanCharacter Secret Thesaurus: Doubting One’s Faith: by Becca PuglisiThe Ultimate Character Development Guide: Step-by-Step Process: from StoryGridCharacter Growth Rollback: by Charles YallowitzUsing Character Occupations to Their Full Advantage: by Liz Gauffreau7 Tips to Character’s Making Uncharacteristic Decisions: by Charles YallowitzLessons From Bad Writing: by Chris WinkleIncluding Themes in Your Novels: by Roberta Eaton CheadleEASY AS PIE: The Art of the Simile: by Robert RotenbergWhat Is a Framing Device in Fiction? by Brandi BadgettHow Useful Are Kurt Vonnegut’s Rules for Writing With Style? by Oren AshkenaziHow Fiction Writers Can Create “Skewed Time”: by CS LakinRelationships, Character, and the Unexpressed Longing: from Fox Print EditorialNaming and Renaming Your Book: How Authors Do It: By Barbara Linn Probst A Complete Guide to Revising Your Novel: by Lynette M. BurrowsEthics of Critiquing: by Marilynn ByerlyWriting Scenes: Rewriting or Reimagining? by Linda S. ClareShould You Write a Series or Stand Alones? by James Scott BellWhen writing a long-running series, it’s important to remember that readers want more of the same: The Bane and Pain of Transitional Scenes: by John GilstrapUnleash Your Imagination: 3 Creative Writing Guides Every Author Needs: by Stuart ConoverFree Resource Library for Fiction Writers: by Bucket Siler

 

 

 

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More of the Same

by Elizabeth S. Craig, @elizabethscraig

This is one of those posts where I sort of cringe as I write it. It’s not what I would have necessarily believed or even wanted to do when I was starting out in the early 2000s. But here it is: I think readers don’t really want new and different with a long-running series.

First off, a proviso. Of course writers should do anything they want to do with their writing and their series. They’re the creators. It’s very important for writers to be creatively satisfied. This has more to do with the business end of the stick.

As an example, I’ve subscribed to a long-running podcast. After I discovered it, I looked online to find the most popular episodes and add them to a playlist. There were tons of results for favorites, spanning a number of years.

Late last year, I saw a discussion on Reddit about the podcast that made it clear listeners now had waning support for the program. The content, they said, had changed dramatically. It had become darker, more disturbing and strayed from what everyone enjoyed most. From what I saw online, none of the favorite episodes were recent ones. The podcast was struggling and asking for memberships and donations.

That’s why, from a business standpoint, it’s important to deliver more of the same. What do readers like about your books or your series? What do they email you about or comment about on social media? What’s reflected in their reviews? Find out what your secret sauce is and give them more of it.

If you’re like me, though, sometimes you want to do something different. And that’s totally fine: start another series (I’ve got 5 now, 4 are active) or write under another name.

That’s not to say we don’t need to keep long-running series from getting stale. But there are plenty of ways to do that without making radical changes to the content readers love.

Have you ever experienced changes to a series as a reader? Ever tried making them as a writer? What’s been your experience?

Writing More of the Same:
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Image by izhar ahamed from Pixabay

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