Ever Tried Writing for Children?

(NOTE:  I will be out of town Monday through Thursday next week, so no posts on those days) 

Today's poster has nothing to do with the topic, but is rather a farewell to July and a welcome to our next month, August. 

Have you ever tried writing a story for children? A poem for little tots? A non-fiction article for grade school kids? If not, give it a try. You may find you enjoy this kind of writing, or you could discover that it's hard work and maybe you'd not want to do it all the time. Many writers  Many writers concentrate on producing children's stories and nothing else. 

There are writers who think that writing for children is the same as the way we write for adults. Just shorter! That's not the case. Shorter alone won't do it. There are a number of things to keep in mind when you write for children such as:

Age Level:  The age level is important. There are toddler books, pre-school age, primary grades for kids 6-8, middle grade for 9-12 year olds, and YA (young adult) for the teen crowd. Settle on one. I chose middle grade since I had taught 3rd and 4th grade way back, and that age group still interests me.I admire those who can write for the very young children. It's not at all easy.

Content: The writer must keep in mind the age level. The younger the child, the simpler the content must be. For middle grade and YA, the content can be more involved the story can be. Children's writers have always been advised to steer away from controversial subjects, references to sex and gender situations, but today, that is not necessarily so. Still, I would hope that writers for kids would handle controversial subjects with care. Years ago, there would have been no swear words in a middle grade book. Today, it's alright with many editors. As I advised one writer, using cuss words throughout a book doesn't accomplish much, but use them in a very few places, and they will take on more strength and meaning. In other words, a little bit goes a long way. 

Fact or Fiction:  Children's writers need to be sure they are using correct facts in articles. They need to be sure the historical fiction stories represent the era in which they are set. Don't have a character ride a train out west long before railroad tracks had even been laid in that area of our country. Historical fiction for kids should show a true picture of the times. 

Vocabulary:  Again, age level matters here. It's alright to use a few words beyond the usual for whatever age group you are writing for. Children will often figure out the meaning of a word from the way it is used in a sentence. But you need to keep it to a minimum. Younger children's books use simple words while the older the child is, the more involved the vocabulary can be. 

Technique:  Children's writers use the same techniques in writing fiction that writers of adult fiction use. They must consider plot, theme, emotion, sensory details and more. One cardinal rule is that the child in the story must solve the problem, not an adult. 

Stories that appeal to kids:  They like humor, mysteries, and adventure. For YA, love stories are added and teenage problems addressed. 

Word Count:  Read guidelines for children's magazines and book publishers carefully. Highlights for Children is a longtime popular magazine for kids, but their word count for fiction is only 800 words. It's not easy to write a full story with so few words, but people do so as can be affirmed by the number of years Highlights has been publishing 800 word stories. The thing to remember here is to write tight! The extras have to go.

My main writing today is creative nonfiction, but I still enjoy writing for children now and then. Below is an award winning story I wrote after reading a newspaper article about a problem librarians had with children being sent to stay at the public library after school until Mom or Dad got home from work. My story is fiction based on that news article.

There’s A Dragon In The Library

Wilhemina Higgins’ long braids bounced as she ran down the narrow tunnel the bookshelves made in the Westlake Public Library. Her untied shoelaces slapped against well-worn sneakers. Past the Js, Ks, and Ls she flew, only slowing slightly as she rounded the corner. 

     

Wilhemina spied a dragon waiting at the end of the row of shelves.  She screeched to a sudden stop. Her heart thumped.

    

At first it was silent. Then the monster snorted, lifted its huge head, took in a gigantic breath inward and fell silent again.

    

Wilhemina swallowed and took one step back. Before she could turn and retrace her path, the enormous dragon reared back on its hind legs, threw back its massive head, and breathed out a whoosh! Smoke curled from its nostrils while flames burst forth from the great mouth. The dragon clawed the air and flapped magnificent wings. The green and purple scales that covered the beast from head to toe gleamed under the library lights. Its amber eyes glinted like cut crystal.

    

 “Wilhemina Higgins!” The dragon roared. “How many times have you been told? There is no running in the library.”

     

 “Do you mean today, Miss Philpot?” Wilhemina looked right into the dragon’s eyes. “Or did you mean all week?”

    

 “You know the rules,” the librarian said. “Why do you come here, if not to read?” Miss Philpot breathed heavily, and she opened and closed her claws.

      

Wilhemina feared the dragon might snort and spurt fire again at any minute.

      

“My mother doesn’t get home from work until 5 o’clock.” Wilhemina’s voice was as firm as Miss Philpot’s. “She says the library is a safe place for me to stay after school.”

    

 The dragon pulled her sweater close around her shoulders. “If you cannot follow the rules, you must go outside.”

    

 “It’s cold as a bowl of ice cream out there, and it’s going to rain, too.” Wilhemina answered.

     

 “Then go sit on the steps.”

    

 “The steps are hard as rocks.”

    

 “You could stay at school,” Miss Philpot answered, barely moving her lips as she spoke.

    

 “There’s no one there,” Wilhemina answered back in the same way, lips scarcely moving.

     

 “Then you must study while you’re here.”  Miss Philpot’s eyes flashed, and her hands turned claw-like once more.

“I’ve studied all day,” Wilhemina told her. She folded her arms and spread her feet apart, ready for battle.

     

The dragon hissed and narrowed its eyes. “Don’t be insolent.”

    

 “I don’t know what that means,” Wilhemina said.

    

 “Then go look it up!” Miss Philpot cried as she rushed to her desk.

     

Wilhemina felt a tug on her shirt tail and turned around. “What do you want?” 

     

Eyes wide, the tugger looked up at Wilhemina. “Is she mad at you?” 

     

Wilhemina sighed. “Every day. So, what’s your problem, Lucy Ann?”

    

 “I’m bored.”

    

 “Then go read a book.” Wilhemina thought her answer sounded a great deal like Miss Philpot.

    

 “Can’t read yet,” Lucy Ann replied. She pushed her bottom lip over the top one and stared at Wilhemina.

     

 “Oh go away and leave me alone,” Wilhemina said. She sprinted along the line of shelves ignoring the brightly colored book jackets. She stopped at the tall library windows where rain beat against the panes and thunder rattled them. She put her elbows on the windowsill, curled her hands around her cheeks, and watched the wind bend the tree branches outside.

    

There was another tug on her shirt. Without looking around, she said, “What do you want now, Lucy Ann?”

    

 “Read this to me.” Lucy Ann held up a large picture book.

 Wilhemina shrugged and took the book Lucy Ann held out. “Why not?” She sighed.

They marched past the dragon’s desk. Miss Philpot watched silently, but Wilhemina thought she could see tiny wisps of smoke curling from under her nose.

     

The two girls sat at a round table, and Wilhemina read aloud in a quiet voice, wriggling on her chair as she turned the pages.

    

 “You can do better than that, Wilhemina.” Lucy Ann scowled. “You sound dull.”

     

There was a moment of silence. Then Wilhemina said, “You’re right!” She sat up straighter, flipped back to page one, and read with more feeling. She used a different voice for each character in the story. Halfway through, she noticed three more listeners around the table.

     

“Keep going,” one of them said when she stopped reading.

    

Wilhemina laughed and continued reading the story and showing the pictures to the younger children.

    

From the corner of her eye, she spied a fluffy, long-haired cat dancing about on dainty paws. Its amber eyes surveyed the group at the table. Then, the cat purred deep in its throat.

     

When Wilhemina closed the book, the cat purred again and said, “Wilhemina Higgins, you read that book wonderfully well. Perhaps you could start an after-school story club. What do you think?”

     

“I think I would like that very much, Miss Philpot.” Wilhemina reached out to shake the paw the librarian offered her.

©

    

 

Writers--Self-Doubt Is Your Enemy

Self-doubt is the subject of today's poster. Who should we blame for self-doubt? There's a clue in the first part of the word. Self! No one else sprinkles you with this debilitating characteristic. It's not the fault of an editor or another writer or those who critique your work.

Nope. Anyone who suffers from this problem can blame only one person. Look in the mirror and you will see the person who sowed the seeds of self-doubt, nurtured them, and watched them grow. Harsh words perhaps, but to overcome this problem, you need to face facts.

How do we let self-doubt begin? We use the words of an editor or a person who critiques our work hurt us, pull us down, and make us feel unworthy. Instead, we should heed the words as a lesson to be learned. These people are not attempting to bat us down. On the contrary. Their intention is to help us see what needs to be worked on, how we can become stronger and better writers. That only works if we, as writers, accept it as meant.

Attitude plays a major role here. If your outlook is that every person who critiques your work is intent on making you feel like you are a terrible writer, then you definitely will feel that way. If you think that editors and critiquers are trying to push you out of the writing business, then you may soon convince yourself that you should quit. Stop where you are on your writing journey and return to square one. 

I feel sorry for any writer who thinks like that. You become your own worst enemy. With each new critique or comment from an editor, you push yourself deeper into the hole of self-doubt. Next comes self-pity. Believe me when I tell you that the only one who comes to a pity party is you, and it can be pretty lonely. 

Beginning writers are of two types--those who are inspired and passionate, ready to conquer the world of writing and those who are scared to death, worrying that they are not good enough to be a real writer. The second group begins with self-doubt. What do you think will happen as time goes on? They will feed it and allow it to become more and more worrisome. They may even develop that dreaded disease called Writer's Block. 

How do you stop doubting yourself? Try the following:

A.  List your successes, not your failures. Every writer has failures now and then, but it doesn't mean you are a bad writer. It means you need to work on the problem areas, learn all you can from reading about your craft, and take the words of a critique person as an aid in learning.

B.  Go to that mirror again. Look into it and repeat over and over something like "I am a writer. I will be a better writer. I will learn from my mistakes." Say it often enough, and you'll begin to believe it.

C.  Accept praise when it is given. Do NOT put yourself down when someone compliments you on your writing. Be happy and thankful for any compliments given.

D.  Keep a journal and write something good about your writing life every day. Dwell on the positives. Once a week, read all you have written for that week. 

E.  Believe that all writers can improve their writing. Because there is room to be a better writer does not mean you are a bad writer. Not at all.

Don't let self-doubt become an enemy to your creativity. Remember that YOU are the one who is in control. You have a choice every day. Tear yourself down or lift yourself up. The cure doesn't happen overnight. It's gradual, but any progress is helpful to the self-doubting writer.

 

Learning From the Edits of Others

 

Today's quote says:  " No author dislikes to be edited as much as he dislikes not to be published." Russell Lynes is credited for this quote. I like the content better than the sentence structure! 

I think there is truth in the quote. Most writers have publication as a goal. Being edited by someone else is difficult for some writers to accept. Have you ever been in a writing group and watched someone being critiqued who does not accept criticism well? It's rather painful for all involved. 

I was once asked to read and critique another writer's short story. She was a beginning writer, so I knew there would be lots of things to point out to her. I tried to be as kind as possible with the story that needed so much work. When we got together for coffee one afternoon, and I brought my thoughts on her story to her, she became angry, grabbed the story, and stalked off. She never spoke to me again. The lesson here is that you should not ask for a critique if you are not willing to accept the suggestions given. This woman was thrilled with the story she'd written, and she wanted me to be thrilled with it, too. When I pointed out all the places that she could work on, she was insulted and hurt.

The idea of a critique is to make some corrections and suggestions to help the writer create a stronger, better story. It is not a personal attack, although some writers take it as such. Critiques are to help, never to hurt. And the writer should look at it as a way to learn more about writing. 

Years ago, when I joined my first online writers' group, I read not only the critiques of my own submissions but those of other members, as well. It was a terrific learning experience. I found it better than attending a workshop or reading a reference book on how to write. I continued to read the critiques of all the members which helped me become a better writer. I also learned how to write a critique for others in a helpful way. 

When we submit our work to an editor, and that editor rejects our submission, but also gives some reasons why he/she did not want to publish it, we should take it as a learning opportunity. Of course, our first reaction is disappointment that something we were proud of didn't make it. Next, we should look seriously at the editor's remarks. We need to give some thought to what was pointed out. Do we agree or totally disagree? Are we willing to make some changes before submitting elsewhere? Are we big enough to accept the criticism and grow as a writer or not? 

Sadly, many editors reject a submission without giving any reasons. Granted, it takes more time for them to do so, but wouldn't it be nice if they took the small amount of time to help a writer? Of course, I am looking at this from the writer's perspective. If I was an editor, my outlook might be completely different. 

No one likes to be told that they could do better. No writer wants to be told to revise and edit again. It is only demeaning if we allow it. Develop the attitude that critiques and edits from others are meant to help us, not hurt us. They should make us stronger writers who get published more often. 

One of the best writers I know, one who wrote an award winning book, sent a short story to be critiqued by our writing group. She had plenty of feedback. Critiquers pointed out a few discrepancies, a few confusing sections, and more. She sent a thank you saying how much she appreciated the help and how she had not realized some of the problems. We often do not see the problems in our own writing. It takes another objective person to help us discover them. That is one of the top reasons for having someone else critique your work. 

You can be disappointed with a critique or an editor's comments, but don't let it deflate you. Use it as inspiration to continue to work on your story and submit it to another publication. Keep in mind that publication is your goal. Revising and editing move you along the path to reach your goal. 

Draw from Experiences When You Write

 

(NOTE: Please check your spam box to see if some of your posts from MailChimp have ended up there. I have had a few, along with a box telling me it looked suspicious. I checked that it was safe. This new process is taking some time and frustration to get running smoothly.)

The poster quote for today says "nothing that happens to a writer is ever wasted.' What do you think? True or False? 

Personally, I am in agreement with the quote. Whatever experiences we have been filed away in little boxes in the recesses of our minds. Something will trigger the memory of that experience, and the box opens for you to explore and perhaps use in a story. 

Did you have your heart broken when your steady boyfriend/girlfriend broke up with you? You can tap into that memory and write a great scene in your romance story. Did you ever spend time in a hospital? You can write well about a character in a hospital as you've had the inside look at being a patient. Were you ever in an accident where you were injured? Once again, you know firsthand what it felt like--the pain, the fear, the reaction of others. 

When we write, we do use our imagination a great deal, but we also rely on the life experiences we've had to help us write with realism, with feeling, and with expert knowledge. 

We have multiple happenings in our lives, and you might think that you'll never remember them all. Perhaps not all, but the ones that impressed you will come back easily with a trigger. 

What about keeping a small notebook with life experiences as they happen to you? Sounds like a fair idea, but I doubt we'd have something exciting or traumatic happen to us, then go running to get the little notebook so you can write about it. On the other hand, if you are a person who keeps a daily journal, you will most likely write about those experiences that are important or impressed you in some way. Journalists benefit from having a record of these happenings. Only one of the positives in journaling.

Take a few minutes and look back over your lifetime. What experiences did you have that might end up in a story someday? It needn't be the entire occurrence; sometimes bits and pieces of an experience will work their way into your writing. 

My husband spent a summer during Law School working on a wheat ranch in Montana. He's told me so many stories about that impressive, eventful summer. If he was a writer, he would have a lot to help him write a story about that kind of summer work or about a ranch hand who had a permanent job in the same kind of surroundings.

You may think nothing much has happened to you, that you don't have a lot of experiences to draw from. It's not only the monumental  happenings that can end up in our writing. Small things count, too. 

So, yes--'Nothing that ever happens to a writer is wasted.'

Put Emotions Into Your Writing

 

(NOTE:  I received a notice that Google is now going to support email subscriptions through mid-August. So, looks like you will be receiving two copies of my posts until then. I will be very happy when this is all said and done and the only copy you will receive is from MailChimp!)

Have you ever finished writing a story or essay, read it over, and realized it was kind of blah.? Sort of flat? One reason could be the lack of emotion in what you wrote. Adding emotion brings a story to life. It speaks to the reader and sometimes brings forth emotion in them, as well. 

When we write a story, we know the emotions the characters are experiencing, but our readers don't unless we show them. Note that I said 'show' them. Don't toss in a She was so happy. or a Ben felt sad.  or a She was so angry at him.  All those short sentences tell the reader how a character felt. Showing is always better. How do you do that?

Let's take those three short sentences and make them show rather than tell.

A.  She was so happy.

B.  She twirled around and hugged herself with a broad smile lighting up her face. 

Note that the second sentence never mentioned the word 'happy.' 

A.  Ben felt sad.

B.  Ben bent his head, and he wiped the tears from his cheeks.

No 'sad' in this second sentence, but we know Ben is sad from his actions.

A.  She was so angry at him.

B.  She balled her fists and glared at him, then threw a punch in his gut.

We never see the word 'angry' in the second sentence.

People have many emotions in everyday life. Doesn't it stand to reason that characters in a story or a book will have them, too? The writer must work hard to show those characters feeling sad, happy, angry, scared, or any other feeling. Don't write as an outsider looking in. Instead, immerse yourself into your story so you feel the emotion as much as your characters do.

Showing emotion brings the characters to life. It works in both fiction and creative nonfiction. In the latter, you are telling a true story using fiction techniques, which means emotion is of importance in this kind of writing, too. 

Showing emotion in your characters helps your reader to relate to them as real people. When I cry in a book, and it does happen occasionally, I know the writer has done a good job in creating characters who feel real to the reader. Don't let your characters be stick figures; make them human with real feelings.

Do Writers Need Courage?

 

I am particularly fond of today's poster quote. It says "Courage doesn't always roar. Sometimes courage is the little voice at the end of the day that says "I'll try again tomorrow."

There are days when our writing gives us one problem after another. Nothing seems to go right. We end up discouraged, depressed, and disgruntled. We need courage to go back to our writing the next day. We need that big roar that pushes us and makes us write well, get over the roadblocks that we fought today. 

But do we need the big roar, or is it enough to hear a little voice that whispers to us about trying again tomorrow? I think that is all we need, but we have to stop complaining to ourselves about our bad day and really listen. I often think that people 'hear' but do not 'listen.' There is definitely a difference. 

We should give ourselves some quiet time at the end of the day. Have a cup of tea. Sit in your rocking chair and rock. Somehow that motion is soothing to us as adults as much as it was when our mothers rocked us long ago. Close your eyes and listen for that voice that tells you to try again tomorrow. 

Success tomorrow is not guaranteed, but it is quite possible. After a night's sleep and being away from the troubled writing day we had, things are bound to go better. Especially if we approach our writing with the attitude that it's a new day, a fresh start, and do it with a smile, not a frown. 

Think about inventors. If they gave up when things didn't go right, we'd not have many of the great things we have today that make our life easier. Inventors must often have gone to bed feeling discouraged, but they listened to that little voice that gave them the courage to try again the next day. 

It's the same with athletes. If they didn't meet their goal, or even come close, on one day, they have a new day coming and are willing to try again. Like writers, they function with determination.

We writers do need courage to keep working at our craft. Courage is necessary when beginning a new project, when submitting work to a publication, when editing and revising a first draft. We use that courage to tamp down any fears we might have. When we have a good writing time, we feel great at the end of the day. When it is the opposite, we need a quiet time to listen to that little voice that tells us to try again tomorrow. 

Finding Markets for Your Stories, Essays, and Articles

 Where should I submit my writing?

(NOTE: Looks like Google is going to keep sending my posts through August now. So, unless I find the magic button to eliminate them, you will be receiving 2 posts per day, one from Google and one from MailChimp. Sorry for the confusion on this.)

Yesterday I talked about submitting your work. Getting up the courage and actually doing it, instead of only thinking about it. Some writers have no qualms about submitting while others agonize over the process. Now for the actual process.

Let's imagine that you are ready to submit a story you wrote that has been revised and edited until you feel it is ready for the eyes of an editor. Now what? Do you look like the woman in our poster today? 

If the story is about lumberjacks in a forest setting, you don't want to send it to a magazine about preparing and serving tea in elegant fashion. If it's a story for children, your market is more limited. If it is a technical how-to article, your scope is narrower, also.

You will need to do some searching for magazines or ezines that your topic will fit. If the lumberjack story has a love angle, then search for magazines that publish that kind of story. If it is strictly an adventure story, look for a place that likes thrills and outdoor adventures. If it's got a religious angle, head for that kind of magazine. In other words, fit your story to the publication.

Where do you find publications that are open to submissions? Use your favorite search engine. You can use keywords like publishers of fiction short stories. Or narrow it down further. Or ask for writer's guidelines for fiction short stories. You'll be met with a lot of choices. Read through them and elminate the ones that you know won't work. Make a list of those that are possibilities, or bookmark them to save on your computer.

Now you have a decision to make. If the publication takes simultaneous submissions, you can send the same story to half a dozen, or only one. If you do one, then you have to wait for the acceptance or rejection. If it's a no, then you move on to the next one on your list. If you send to several and one does accept it, then it is your responsibility to let the others know that the story is no longer available. More work for you. It's your choice as to which way to go. 

Personally, I choose to go one at a time. Why? Because I had a bad experience several years ago. I sent a story to two anthologies. It was the first time I had done that. They both wanted to publish the story. The acceptances arrived only hours apart. Now what? I had to choose one, and after much soul-searching I did. Then had to write and tell the other anthology editor that I had already sold it to another. The odds of this happening are slim, but it did happen. I swore off simultaneous submissions after that. 

Years ago, writers had to purchase a book that listed publications and their guidelines on an annual basis. The book looked like the Chicago Telephone Directory in size. To purchase it annually to keep current added up to many dollars. Some writers went to their local library and used the same book there, but that also took hours of time and the making of handwritten lists. If you've never dealt with either method, you can't have a full appreciation as to the ease of finding marketing listings today. 

Use a search engine as stated above. Subscribe to newsletters that send an email with a list of markets that are current. When you go online to find listings, make sure you have the most current. 2014 guideliens and 2021 guidelines for the same publication could be very different. Ask other writers friends for recommendations. Make a list of your favorite places to sub to. 

Amd again, keep submitting on a regular basis. Do not send one story and then wait until you hear from the editor. Remember, that some editors do not respond unless they are accepting your work. Sometimes, the guidelines will tell  you that is their policy, sometimes they don't make it clear. 

When you have completed your submission process, whether via an email or by filling out a form, go back and doublecheck that you have done everything correctly according to the guidelines.. It will be to your advantage to take the time to do a check. This is especially true if you are submitting to a contest. Miss one rule, and your story will be dumped, no matter how good it might be. Some publications give few to no guidelines. I much prefere those that give a list of what they want and what they don't want. With the ones that specify nothing, you are free to do whatever you want to, but this method can also be a bit confusing.

The more you submit your work for publication, the more familiar you become with the process. If you submit to one or two places on a regular basis, you have the routine down pat. If it's someplace new to you, check and recheck before hitting the Send button. 

Submitting Your Writing for Publication

 

The Old-Fashioned Way to Submit Your Writing

Learning the ins and outs of writing is important. There is a great deal of information to absorb as we begin our writing journey and continue down its path. We must become proficient in the tools of writing before we can submit what we write to an editor. 

There are writers who finish a first draft and submit to an editor immediately. Then, they are despondent when that submission lands with a dull thud and brings a rejection. Submitting is important, but not until you have done everything you can to make your submission stronger and better and of interest. 

We also see writers who write and write, revise and edit, write some more and file the story or essay or poem. They might be very happy with the way their piece of writing turned out, but even so, they file it and move on to a new writing project. And they never, ever submit their work for publication. Is the thinking If I don't submit it, I won't have to deal with rejection or is it fear that they are not good enough? It could be either one of those possibilities. Or perhaps the writer has no desire for publication; they write for their own pleasure, not to share with others. Is that being selfish? Perhaps, but it's also a choice that some writers make. It's not wrong, merely their choice.

If you do want to be published, the one and only way is to submit your work to a publishing house or an editor of a magazine or anthology. I had a writing friend years ago who always said, "Send it in! No one is going to climb in your bedroom and take your manuscript from your top dresser drawer1" His mantra to our writing group became "Send it in!" It was good advice. If you don't send it, you cannot possibly become a published writer. 

Years ago, writers had to send via snail mail, often with a SASE (Self-Addressed Stamped Envelope) for the return answer. It was a lot of busy work getting that submission ready to send. Then the big wait until the SASE you enclosed came back to you with either an acceptance or rejection. If the latter, you sent it to the next editor on your list. And then you waited again. You used postage on the envelope you sent and the one you enclosed for the return answer. Do that often, and the cost adds up.

Now, submitting is so easy as we can do it by email or by filling out a form in Submittable or a form on an individual website. There is still the antsy waiting period, but eventually, something pops up in your email letting you know the result. The rejection is not any less painful, nor is an acceptance any more joyous. It's just a lot easier to submit today than years ago. Every now and then, I run across a place that still asks for a snail mail submission with that SASE, but it's rare. I usually pass right on by when I see their request.

There are still a few places that do not respond to a submission unless it is with an acceptance. One of the places where I have been published many times never sends a rejection. Instead, the writer is left hanging. After a long period of waiting and no acceptance, the writer grudgingly knows he/she has been rejected. Personally, I would rather have a definite rejection so I can move on. 

One of the important parts of submitting your writing is to read and study the Writer Guidelines and then follow them. Some publications give detailed guidelines, and others give few to none. The latter, I think, do themselves no favor, as they must receive scads of submissions that are not right for their publication. I much prefer a set of guidelines I can follow and also to know if what I am sending is alright for the publication. 

Once you submit a piece, don't sit around and wait for an answer. Get to work on a new project. Once you have a finished piece that you are satisfied with, send it in. Keep the submission Ferris Wheel moving all the time. 

Make a record of what you send, to whom, and when you sent it. When you get an answer, record the result, as well. You might think you'll remember, but if you submit often, it's likely you will forget the details.

To quote my friend once again: "Send it in! "Send it in!" Send it in!" You'll never be published if you don't do so.

The Importance of Sensory Details in Your Writing

 

Today's post is an article that I wrote for a Children's Writer's Newsletter a few years ago. Although originally geared to people who write for children, the information works just as well for those who write for adults. I interviewed two people I considered experts in their field for the article. 

The Icing On The Cake

A cake with no icing is about as appealing as toast with no butter. The basic food is there, but the special something that makes it taste so good is missing. The icing makes the cake sweeter, prettier, and more appealing like the birthday cake pictures in today's post. A story may have a good plot, but without the little extra, it may end up being rather ordinary.

Sensory details enhance a story like the icing on that cake. We use our five senses hundreds of times a day without being conscious of doing so.Think about the many everyday things you do that involve your senses.When you look out your kitchen window and see a bird, your mind registers more than the fact that you saw a bird. You know that it is a bird, you know the color, the size, and perhaps the sound it makes, you know how oft the feathers would feel if you stroked it. We see, hear, smell, taste and touch with our daily experiences, so why not include them in our stories?

Children relate to things in their personal surroundings. They know that the bristles of a brush might feel scratchy. They squeal with delight at he sound of the ice cream vendor, and they wrinkle their noses when taste-testing a new food not to their liking. Include these experiences in the stories they read, and you could end up being a sought-after author-the writer who made the story come alive.

Margaret Shauers, author of many children's stories and regular columnist at Write4Kids, says "The way humans communicate is through shared experiences and emotions, and we experience life through the five senses."Ms Shauers has a word of warning. "We rely too much on sight and need to hone our skills at the other four. Keeping a sense diary helps-a short sentence or two about each sense every day." She admits that it is easiest to include sight and sound in children's stories. Touch runs a close third, but taste and smell are senses she must concentrate on when she writes.

Look at the sentences below. Which example in each set is more interesting?>

A.  Sam saw a big wave.  Or   Sam's heart leaped in his chest when he spied the huge wall of water headed his way-taller than his basketball goal at home.

A few added words allow the reader to see the wave headed for Sam.

B.  Sally heard thunder.    Or   Sally covered her ears when thunder boomed overhead and echoed across the prairie. The wind whistled through the tall grasses as she raced toward home.

We know that the noise is very loud if Sally has covered her ears, and we can discern the sound in the grass, too, through the active verb form.

C.  The dead mouse smelled bad.    Or    The rotten stench of the dead mouse made Susie gag, and clap her hand over her nose and mouth.

Gagging and covering her nose and mouth illustrates the nasty smell so much better than simply telling the reader the mouse smelled.

D.  Tommy didn't like the vegetable.    Or    The slimy, green spinach sat on Tommy's tongue and refused to move any further. He'd never be able to swallow the bitter stuff.

Here we not only know what the taste is, but we can also see the vile veggie Tommy is trying to eat.

E.  Jody petted the cat.  Or   Jody giggled when the cat's soft fur tickled her hand as she stroked him.

The senses of both touch and hearing are evident in this last sentence.

Did you notice that the first sentence in each group was a telling sentence, while the next one showed what happened. Using sensory details remedies too much telling.

Picture book author, Barbara Santucci, pays close attention to sensory details in her three picture books--Anna's Corn, Loon Summer, and Abby's Chairs.Ms Santucci says "The more sensory details we include, the richer our writing becomes, and the more able we are to show and not tell the story plot and the emotions we are trying to convey." Anna's Corn is a story built around the sound of corn growing in Anna's grandfather's field.There is, of course, a good deal more to the story, but the music of the corn Anna remembers figures strongly in this tale of loss.

Ms. Santucci adds "Our writing should create concrete and vivid images in the minds of readers that help them experience the emotions of the characters, thereby creating a mind and heart connection between the story and the reader."

That "mind and heart connection" is what a children's author strives for. People who write for adults want the same connection.

Adding lively sensory details will achieve that connection more easily.For most of us, it's not a given. We need to practice writing those sensory details so that they become second nature when writing a new children's tale. Let sight, sound, smell, taste and touch be the icing on the cake in your stories.

Exercises:

   Keep a Sense Diary. Write a short sentence or two about each sense daily.

   Practice writing phrases that include sensory details

   Watch for sensory details when you read.

   Be observant. Take note of the sensory details in your daily life.

By Nancy Julien Kopp Nancy - November 25, 2014 (original publishing date)  

Passive vs Active Verbs

 

NOTE:  I think we are not going to stop getting two copies of each post until July is over. I have tried to eliminate one to no avail. 

We all use many passive verbs in everyday conversation. Consider how many times you include the words was, is, were or some variation of them. We do it subconsciously as a method of economizing our speech. Those words are short, and we know the point of what we’re saying lies in the words that surround those bland verbs. Hmm, maybe we can even call them 'blah' verbs. They all derive from the passive ver 'to be.'

But as writers, we need to find verbs that show the reader something, verbs that bring out sensory details. Using too many passive verbs is the mark of a new writer. I profess to guilt in that department, too, when I first started writing. It is also the mark of a lazy writer. The passive verbs come so easily while the active ones take some thought.

Which of the following sentences do you find more interesting? Which ones give a better picture to the reader? 

A. She is sad.

B. Sadness engulfed her.

A. We went to the beach.

B. We motored to the beach.

A. We were hot in the sun.

B. We roasted in the blazing sun. 

A. Alice turned around; her skirt moved, too. 

B. Alice twirled until her skirt billowed. 

The B sentences all bring a mental picture to mind and allow the reader to get into the scene far better than those passive verbs in the A sentences. In the final set, A has semi-active verbs, what we might call weak verbs. Again, the ones used in B are far more interesting and give a more vivid picture.

When you finish the first draft of a story or essay, look through it and mark the passive verbs. Then try to find active verbs to replace them. Use a thesaurus if you need some help. Read your work from beginning to end, and you’ll see how much stronger and more interesting it sounds once you change many of those passive verbs. Work on using active verbs whenever possible. 

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About Those Adjectives We Use

 

The man in the poster is a writer at work. Let's suppose that he is revising and editing a first draft. He knows something is missing in the story he's written. But what?

It could be that his descriptions are pretty generic, that his adjectives don't give a clear picture to the reader. Or that he rarely uses adjectives. 

Conversely, he might be guilty of adjective overload. He thinks that one adjective looks a little lonely, so let's add a few more. What does he have in the end? An overly done piece of work. 

Let's look at a few examples where A is pretty generic and B gives a better picture:

A.  The woman sat in a chair at the ball game.

B.   The old woman sat in a folding chair at the baseball game. 

In A, we have the basics, but B let's us see the woman more clearly. We know her age category, the kind of chair she is sitting in, and what kind of game she is watching.

A.  The kitten lapped the milk in the bowl.

B.  The black and white kitten lapped the warm milk in the blue pottery bowl.

We see much more in B than we do in A. 

A.  The tree faced the mountain, and Jem placed her hand on the trunk as she gazed into the distance.

B.  The huge tree faced the snow-capped mountain, and Jem placed her wrinkled hand on the rough trunk as she gazed into the distance.

B tells us the size of the tree, the age group of Jem, a bit about the mountaun, and something about the tree's trunk. A tells us none of that. 

A.  Jimmy ran into the forest, determined to find his pet before dark.

B.  Jimmy ran into the dense forest, determined to find his faithful dog before the scary dark approached.

Again, B gives us a picture that is more clear and adds some interest, as well.

Now, look at these sentences. Which ones would you add something or take away words? Are there any you would leave as is?

A. Glenna rode the white stallion along the deeply rutted road, hoping he would not stumble and throw her into the deep canyon to her right. 

B.  George put on his very most favorite tie and then slipped into the navy plaid skinny fit sport coat as he got ready for the beautiful, exciting, wonderful dance in the park pavilion.

C.  Susan walked in the garden.

D.  The house leaned a little.

E.  Her ragged dress stood out among the girls who wore ruffles and lace. 

F.  Buildings crowded together in the downtown area of the city. 

Some of the sentences have too many adjectives, while others are pretty generic, telling the reader very little. Any one of the sentences can be changed or left alone. That is the writer's choice, but look at them again. Which ones do you prefer? 

Remember that one adjective per noun is generally enough. Make it two or three, and you may be heading for overkill.  Use none, and your reader is left with some questions in their mind. Adjectives help describe; they help show, but they should be used sparingly. 

Everyone Can Write About Mothers

 

I have heard my mother's words slip out of my mouth more and more as the years go by. I think it happens to a great many of us. Sometimes the things we say that mirror our mother's comments are ones that irked us when we were younger. Sometimes, they are bits of wisdom she offered to us.

Rather than merely repeat things our mothers said, why not write stories about your mother? Most of you who read this blog regularly know that I am a great proponent of writing your family stories. But today, I'm narrowing it down to your mother. 

You can write about your mom for yourself, for your family, or for publication. I have written many stories about my mother for our family, but a good number of them have also been published in anthologies. Writing the stories for your extended family is a wonderful gift. 

If you have any thought of writing to publish your work about the woman who raised you--it could be your birth mother, a stepmother, or a mother who adopted you--start now to submit within the next few months for Mother's Day. Magazines usually want a 6 month window prior to the holiday you are writing for. So, if it's a Christmas story, send it no later than June. For Mother's Day, get it submitted by November. 

Write funny stories about your mom, or a sad time in her life, or a time when you were in big trouble with her. How did she react? What did she look like? What expressions did she have in the situation? Did she ever lose her temper? Did her sense of humor save the day at times? 

Write about her cooking skills or lack of them. Her housekeeping--good or bad? Was she a carpool mom or did she tell you to walk to school? What were her hobbies? Her favorite movies and songs? How did she dress? 

When you write a story about your mother, include details that give a picture of her. In these stories, you want to show, not merely tell the story. Let your reader, whether family members or readers of a publication, 'see' her through your words. 

Not everyone has a wonderful mother. Some people don't get along well with their mothers. Should they write stories about her, too? I would encourage them to do so. Not necessarily for publication or even to share with other family members. They should write it for themselves to help understand the difficulties in question. If she is no longer living, it can be a step in healing those hurt feelings than tend to linger.. 

Writers and Attitude

 

(Blog Note:  I think (hope) I have deactivated the feedburner email subscription so you should now start getting only one copy of each day's post from MailChimp) 

EVERY DAY IS A FRESH START. I think that sentence, taken from today's poster, is worth being written in caps. It's that important that we make the sentence an important one, perhaps even our mantra. Maybe we should ask our muse to wake us up each morning whispering in our ear: Every day is a fresh start. 

Think about it. Writers have problems to contend with on a daily basis. If you write, you have to skirt around roadblocks. You have to get across bumps in the road and learn how to handle what feels like an earth moving situation now and then. 

What problems do I mean? Rejection is one of the biggest. Mostly because we can allow a rejection to deflate us like a pin-pricked balloon. There's no question that rejections hurt us, anger us, or send us into temporary depression. Any of those things depends on our outlook. View it as defeat, and you're in trouble. Look at it as a lesson, and you can weather the storm much better. No matter what day you receive a rejection from an editor, remember that 'every day is a fresh start.' Put yesterday behind you. It's done. You're on to new and better things.

We all have problem areas when we write a story, essay, poem, or even a factual article. I've recommended many times that a writer walk away and leave whatever trouble that presented itself. The longer you sit and ruminate, the worse things can look. Leave it and remember that 'every day is a fresh start.' The solution may seem more clear if you wait until a new day to tackle the problem.

What if you're looking for new story ideas and you come up blank? It happens even though there are stories all around us. If you can't find anything new to write about on Wednesday, Thursday might bring some success. It's a new day and a fresh start. 

Remember that nothing in this writing game comes easy. We have to work hard to come up with story ideas and writing that is clear, concise, readable, and more. It doesn't happen every day of the week. But it might occur tomorrow when you have a fresh start. Put the problems behind you as you begin each new day, each chance for a new beginning. 

We can apply this quote to other things in our lives, as well as our writing journey. We can leave a trail of 'what ifs?' and 'why did that happen?' behind us. It's the positive person who prefers to look ahead and start each new day as a fresh start.

One Step in the Writing Process

 

People picture a writer at work as one who is madly typing on a keyboard or furiously writing on paper with a pen or pencil. Writer at work? Yes. 

Writers are also at work when their fingers are idle. They might be sitting on the porch sipping lemonade and enjoying the view. Quiet, relaxed. That's what we might see. It's also quite possible that the writer  is pondering a story idea in his/her mind. The thoughts tumble one over the other like acrobats, It's the first step in the writing process.

Another writer is emptying the dishwasher, pulling plates and cups and glasses out and putting them away. A mindless task. It's a fine time to work on a story idea. You can be mulling over story ideas or problem areas of a story you're working on when doing tasks that require no conversation with others. 

A writer on a bus or a plane looks to be sitting quietly. In reality, he/she may be spinning story ideas as the miles go by. One of my favorite times to give thought to story ideas is when I'm ironing

The thought process is a big part of writing. We don't merely sit down at the keyboard and zip out a story. A lot of thought has gone into it before we ever reach that point.  A writer can think about a story for days, or weeks, even months, before ever starting to do the actual writing. I must admit I don't iron very often anymore, but it is certainly a good time for thinking.

A writer on a beach staring at the water could be entertaining one story idea after another. Or perhaps just one. I find that if I have an idea, I tend to stay with that one until it is time to begin the first draft. If I try to think  about too many ideas at the same time, none of them come to fruition. That's me, but maybe another writer can sort out two or three story ideas in their head with no problem. Once again, we do what works best for us.

One problem writers may have is that their mind is working overtime on a story idea when it should be paying attention to whatever is happening in a classroom, at a concert, in church, or when being instructed on the day's job. There are times when writers can give serious thought to what they hope to write and times when they must put it on hold and give their attention to whatever is happening around them. 

A writer probably enjoys going to a coffee shop and sitting alone. Good thinking time! But if a friend shows up and joins him/her, that's the time to put the thought process on hold. We don;'t want to be considered anti-social.

One place I find dangerous to think about story ideas is when I first go to bed. Quiet? Yes. The perfect spot to work out that sticky area in the story you've been working on. Or to begin a new story idea. The problem is that it can be difficult to shut your mind off and go to sleep. If you can give yourself ten minutes to think and then turn over and off to dreamland, fine. But if you are like me, be wary of starting the thought process if you will have trouble coming to a stopping place in a reasonable time. 

Writers do as much thinking about writing as they do actually getting the words down in print or on a piece of paper. It's a multi-step process. Think--think some more--first draft--thnk again--revise and edit--think again--submit. 

Set Your Writer's Voice Free

 

I've often posted a freewrite exercise here. For those who aren't quite sure what that is:  We use a prompt, usually a single word or a phrase. The writer is to start writing, no thoughts ahead of time. Write continuously for a minimum of 10 minutes without stopping. It doesn't matter what you write. Let it come from the recesses of your mind to your fingertips. Set a timer to help you know when to stop.

One of the big benefits of this type of exercise is that you may pull deep thoughts from your subconscious, ones you keep buried under normal circumstances. You also free your emotions and can bring forth some strong writing. When working on a story or essay, many writers tend to keep their emotions in check, refusing to let the reader see the real writer. It's then that someone critiquing your work will tell you to 'dig deeper.' They are trying to tell you that you've only skimmed the surface of your subject. It's more common than you think.

It's when we release those deeper thoughts and emotions that our writing becomes stronger and worth being published. As the poster for today says, it sets your writer's voice free. Suddenly, the real you appears. The more often you do a freewrite exercise, the easier it will be to let your writer's voice shine through. We establish a habit.

What if the majority of what you write in that ten or fifteen minutes seems like gibberish, worth nothing? It can happen, but you can also end up with the bones of a story or personal essay. You might find that you've written some excellent phrases. Those phrases might end up in a poem sometime.

Remember to write continuously without stopping. That is key for this exercise. Keep your thoughts moving as though they are on a wheel that keeps spinning. 

Prompts for a Freewrite Exercise

 A. Words

blue

lemons

regret

shock

flowers

bulldozer

Phrases for a Freewrite Exercise

a sip of tea

running through  a rainstorm

the grace of a woman

the strength of a man

a soothing lullaby

a bloody battle withiin

An Extra Post for Subscribers to This Blog

 

I let you know a couple weeks ago that I had an unexpected problem in sending the blog posts to subscribers. Previously, Blogger had automatically sent them via Google. That has been happening for the almost 12 years I have been producing posts on this blog. For whatever reason, Google said they would no longer do this after July, 2020. 

Being a writer, not a technology person, I looked for help from a technology person. One recommended to me had problems getting into my blog. and had to keep changing times we could work together. Next, I tried to find an email subscription service to take the place of Google. The first one I tried ended up in total disaster. I tried a second one with the help of an IT guy here at our senior living complex. He was not real familiar with the process either, but he did know more than I and helped me get an account set up. 

Then nothing happened! No email of the daily post was sent. Yesterday, I accidentally discovered my emails had been sent but had gone into my spam box. Horrors! I made sure they were not known as spam, and today, the post went straight to the inbox of my email service. I'm hoping that all of my subscribers did not have the daily post end up in spam. It's a good idea to check that box of horrors on a regular basis. Correct any errors there as soon as possible.

I did notice that I had to click on View in Browser and then click again on the title of the post to bring me to the actual Blogger post site where you see all the sidebars, my profile, the daily poster or photo and more. So, if the email you receive looks rather plain, be sure to click on View in Browser,  then on the title. 

I'm hoping that my account at MailChimp is now running smoothly. If anyone would like to put a comment letting me know that you are getting the Monday through Friday posts, I would greatly appreciate it. 

If you have a topic you would like addressed, please do specify that in the Comments section. Or questions you might have. 

Writing a First Draft

 

I've got an idea for a story to send to a Chicken Soup for the Soul book. I've been trying to get a first draft written, but I get a few paragraphs and then decide it is no good. Quit. Start again another day. I realized yesterday that I should have finished each of those first attempts. Get a full first draft done and then revise after it sits for a few days.

The poster today tells us that the first draft is just a working piece to help you create a strong finished story. Some writers end up with multiple first drafts for one story idea. Is that wrong? No. You do whatever works for you. You might snip this and that from each draft and weave them together for the final one. 

There are times when we write a first draft that is almost a finished product. We only need a few minor edits. It happens, but I can't say I've done it a majority of the time. I think the kind of of first draft that needs little editing comes when we work on the story idea in our mind for a fair amount of time. It's one reason we find it hard to fall asleep at night. In the quiet darkness of our bedroom, we can sift and sort the story idea mentally for....often too long a time. 

Work on that idea in your head while doing household tasks that don't require much mental effort on your part. Unloading the dishwasher takes little mental acuity. Grab a dish or two and keep working on the idea in your head.

I have read a good many quotes by writers about first drafts. That should tell us the importance of writing one. No writer should sit down at a keyboard, write the story, and submit to a publisher all in one fell swoop. Nope. You need to go through this process step by step.

Write a first draft.

Let it sit for a few days.

Proofread, edit, and revise

Let it sit a little longer.'

Do a final edit.

Let it sit another day or two, then submit.

This all comes down to taking time to write what was once only an idea in your mind. Don't rush! Remember in school when you rushed to write a paper last minute? Was it your best work? Probably not. 

Never negate the importance of the first draft. It is the beginning of the process which leads to a finished product. 

Chasing Your Writing Dreams

 

                                                                                      

One of my granddaughters began her dream at the age of seven. She was 'everything Disney' at the time like so many other little girls. Most pass through that phase and move on to other goals and dreams, but not our granddaughter. She set a goal at that very early age of having a career at Disney World. 

The years went by, and she went through all the phases that young girls do in grade school, middle school, high school, and college. She became an outstanding drummer, participating in contests and the high school Marching Band, She excelled on the marimba, was a top student academically and moved on to the University of Arkansas, where she majored in Engineering. Her second year, she settled on the field of Mechanical Engineering. The Disney dream had not dissipated one bit. Her goal became working in the Imagineering Department of Disney World.

Her junior year, she landed an internship in Orlando at Disney World. Only 20% of the applicants are accepted, so she was ecstatic. One more step to the ultimate goal. It was 2020, and the internship was only half-done when the park closed due to the pandemic, and she had to go home. Devastated is the only way to put how she felt. 

On to her senior year and graduation this past May. Mechanical Engineering degree in hand, but no job yet. Her plan? Move to Orlando, get a job there and hope to get back to a job at Disney World. While she waited to make the move to Orlando in early July, she applied for a second internship at Disney, and she was accepted. Another step closer to a career there. She is hoping to get hired permanently at the end of her internship. I hope it happens for her, as she has persevered for many years to chase her dream that began fifteen years ago. She's used determination and true grit to reach the point she's at today. Admire her? You bet I do.

She's a college grad, moving into the career stage of her life, but all I see in my mind is that sweet little girl clomping around the house in her Tinkerbelle shoes at age 3 and 4. 

So, what does this have to do with our writing world? Lots of writers have dreams that last years. They work toward longtime goals set early in their writing journey. Write and have a book published, become a memoir writer who is published, publication of any kind, work toward being a fine essayist published in literary journals, publish a book of poetry. Those and many other goals regarding writing. 

How does a writer reach his/her goal? Determination, perseverance, and patience are keywords. When roadblocks pop up, we can't be stopped. Instead, we must jump over them or detour around them. 

We cannot let things like rejection, discouragement, and fear lead us. (Or overwhelm us!) One way to skirt these issues is to keep that dream alive every single day. We must learn to keep the dream in front or on top of everything else. I've watched my granddaughter follow her dream for years. She never gave up, and she's well on her way to achieving what she's set out to do. You can do the same in your writing world. 

I will add that it takes a strong person to follow a dream amidst setbacks and roadblocks. The longer we are writers, the stronger we should become. The two posters for today have simple but good advice. One from Walt Disney himself tells us our dreams can come true if we have the courage to pursue them. The other one tells us we have to chase our dream if we want to catch it. Neither one says to sit and wait and see if it happens. Be active in realizing your dream in your writing life. 

Dialogue Makes or Breaks a Story

 

A post from my files of the past. I noted that I had written numerous times on the topic of writing dialogue. That only shows that I feel it an important topic. Dialogue can make or break a story. Read more below...

Dialogue in stories is simply communication. You and I have been communicating ever since we uttered our first word--probably 'mama.' We do it so naturally when going through our everyday world, but when writing a story, there are a few things to keep in mind about dialogue. 

Let me preface my remarks by saying that Chicken Soup for the Soul editors like submissions that use dialogue. And they are not alone. Why? What does dialogue do for a story, either fiction or a true tale?

It helps move the story

It helps define the characters and their relationships

It illustrates the emotions of the characters

It makes a nice break in the narrative

It helps show rather than tell

It helps to create tension

It adds the human element

The Bits and Pieces of Dialogue:

Make it natural  There is nothing worse than stiff, stilted dialogue. If you're writing a story about kids who live in a blighted area of a large city, you better not use the language of a college professor. The way your character speaks helps to paint a picture of who they are. Using slang is fine if your character would most likely use it. Using vocabulary that only a word freak would use for these kids would be totally inappropriate. 

It's fine to use contractions because that is the way we speak to one another. I don't care if you can't go. It doesn't matter to me. That sounds more natural than I do not care if you cannot go. It does not matter to me. 

Tags  Beginning writers use various tags to show who spoke and how they said the words or how they felt. Some of the tags most used are uttered, yelled, whispered. Using said is the method of choice. That said becomes a word readers slide by. It's there but not noticed. Some will ask how do you show the way in which the words were spoken if all you use is said. Put an action or defining sentence before the dialogue. Pete slammed his hand on the table. "What do you think you're doing?" That preceding sentence lets the reader know that Pete is mad so he is probably going to yell, isn't he? It also does a good job of showing rather than telling as in this example. What do you think you're doing? screamed Pete. 

You don't need to use a tag after every piece of dialogue. If two people are in a lengthy conversation, use the tag after some but not all. The reader can usually keep track of who is speaking. Use a tag every now and then to keep things straight. 

How much dialogue A few writers have attempted to write an entire story using nothing but dialogue. A noble experiment, but it might be overkill for readers. I prefer to see a healthy balance between narrative and dialogue. What about using it in memoir  Memoir writers are depicting happenings of years prior to the time they are writing. They are writing true stories, so how are they going to remember the exact words someone spoke 25 years ago? It's almost impossible for them to remember word for word, but they do remember the gist of what was said. It's alright to create dialogue as long as it stays true to what the writer is remembering. 

Beware of adverbs  If you use adverbs with your tags, you're taking the lazy writer's way out. As stated in the section on tags, it's far better to use an action to show how the person is saying the words or is feeling than tossing up an adverb and letting it flutter down behind the said. You could say You've made me a laughing stock in this town, Susan said angrily. Instead, try something like Susan clenched her teeth and both fists. "You've made me a laughing stock in this town. The second sentence shows that Susan is angry while the first one tells the reader she's angry. 

There are many things to consider when writing dialogue. When you're reading for pleasure, be aware of the way dialogue is used. Note what you like or don't like. Then put it to good use when you write your own stories or memoirs.

By Nancy Julien Kopp Nancy - April 25, 2019  (original posting)