The Writing Road Has a Few Bumps

 

"You fail only if you stop writing." Ray Bradbury, author, said this. I thought it worth a topic for this blog today. 

Are you a failure if you write and submit over and over and have never been published. Is it defeat? Not in my book. If you are a writer and continue to write, you're still a writer. You may not be able to list your many successes, but you are still a writer, and your aim is to be published so you can start a list of successes.

Are you a failure if you, set lofty goals at the beginning of your writing days, but only reach a few of them five years later? Not in my way of thinking. No one ever said that you absolutely must achieve the goals you have set for yourself. A goal is something to aim for, to give us incentive. If we meet all of them, that's wonderful, but if not, we don't have to fold up our tent and slink away. 

Are you a failure if you have a book published, but sales are disappointingly low? No. You may be unhappy with your sales totals, but it doesn't mean you should give up writing the next book. Even famous authors have better sales with some books than others. Every one of them would be able to tell you which was his/her most popular book, the one that had the most sales. 

Are you a failure if you have a website or a blog that gets minimal hits? Of course not. You're still a writer, no matter how many readers you have.

Are you a failure if your critique group finds more problems in what you submit to them than praise? Not really. They are trying to help you improve your writing so that it will be acceptable to an editor. 

All the things I've addressed above are the everyday problems a writer encounters. We work toward overcoming, or correcting, them. We are not failures because we're not perfect. 

I agree with Mr. Bradbury. Failure comes only when we stop writing. The other problems are hiccups in the life of a writer.

Developing Characters When You Write

 

We've all read books whose main character is memorable and also ones where we cannot relate to the main character at all. Readers should be drawn to a character and feel something. If the character appears to be onstage as you sit in the audience far away, he/she is not very realistic. You know it's all make-believe. 

But, if you are drawn into the story and begin to care about the main character, you're going to feel like you are part of the story as you read. You experience what that character is experiencing. When I read a an Inspector Gamache book by Louise Penny, I feel as if I am walking in his shoes throughout the book. 

Ms Penny has done a magnificent job in creating her Chief Inspector, as well as the supporting characters who appear in most every book in the series. I have vivid mental pictures of each of them, and I know which ones with whom I'd like to share a cup of coffee and a croissant, as well as the ones I'd circle around rather than socialize with them. I can picture each one physically as well as their character traits.

Think about some of the classics you've read. The main character pops into your mind immediately when you see the title. Books like Gone With the Wind, Tom Sawyer, A Gentleman in Moscow, To Kill a Mockingbird all have memorable characters, ones who come to mind the moment you see the title of the book.

A few things to help develop a main character:

A.  Name him/her--even when that character is the narrator, the name needs to be given in some way

B.  Physical description--it can come in bits and pieces as the story moves on; it's not necessary to spend three paragraphs with a blow by blow description

C.  Make use of backstory sprinkled throughout. It's not necessary to devote an entire chapter to the character's past, although I have seen it done. 

D.  Make your character human--make him/her vulnerable and even flawed in some way. What better way to gain a bit of sympathy from the reader? Every main character doesn't need to be a Hollywood star with perfect features, svelte bodies, and a perfect personality.

E.  Give the character some outstanding qualities, as well. Make him/her a bit of a hero when you can, even if it comes late in the story.

F.  Show, don't tell. It works in writing a story, and it works when developing a character. Show me, and I'll have a real picture in my mind of the character.

G.  Show growth in your character. Hopefully, he/she is not the very same person at the end of the story as we met in the beginning. 

Some writers will give a  secondary character some trait that sets them aside from others. It can be a gesture he/she often does, or a way of approaching people with a signed statement like "Hiya, kid' Use it but do so sparingly. Too much of anything gets tiresome. 

The main character, or protagonist, is important, but so is your cast of supporting characters. Have fun giving them personality traits that stand out. Make them loveable or sleazy, as the story predicts.

Outlining writers make full character sketches once they have a story idea in place. Pantsters, those who write without an outline (by the seat of their pants) develop a character as they write the story. They can always go back and change this or that when doing an edit. 

When you read, pay attention to the way a character is developed. Use a search engine to find articles on making a character sketch or on creating memorable characters. 

As an aside, when I read a book and then see a movie made from it, I am almost always disappointed in the characters. I've already created a picture in my mind of each one and am not always happy with how Hollywood portrays them. It's part of why I prefer books to movies. I do like movies, just not ones that are made from good books I've read and enjoyed. There are a few exceptions, but I 

Writing Travel Stories

 

One of our granddaughters was married this weekend. Family came from far and near to the wedding in Dallas. With the problems connected with flying lately, we heard many a story from those who flew. The groom had several relatives fly in from Canada. Their flight was fine, but the airline lost their luggage! Not only that, but the airline people could not find it anywhere. They had no idea where it was. The Best Man had a new suit and accessories to stand up for his cousin, so he had to go shopping for a whole new outfit, as did others in that party. 

A niece and her mother flew back to Chicago. No cancellation problems. Instead arrival problems at O'Hare airport. They landed, could not get a gate for a long time, then got stuck in a terrible traffic mess outside the arrivals entrance. A friend had picked them up, but they could not get into the traffic lane to leave. Police attempted to direct the traffic to help out, and they finally threw up their hands and left! It took 2 1/2 hours from landing to the time they were able to leave the airport area. 

That is just two of the horrors of traveling by air stories we heard. There are thousands more all over the country, no all over the world. A friend was to fly to Paris on Saturday. Long story short--flight cancelled and they had to wait until today for another one. Hoping they make it this time. 

So, today's post is about writing your travel stories. Both the good and the bad. Not only about the actual transportation, but the places you visited once the travel part was over. It seems we remember those hitches in our travel more often than the times that all went smoothly.

Travel is exhilarating, inspirational, educational, and often exhausting. Yet, we get home and start thinking of where we might go next. 

When you write travel stories, include the personal, not just a day by day blow of what you did and what you saw and what you ate. Write about the people you encountered, how the place affected you, and what you learned while on your trip. 

Keep a journal when you travel. It will be helpful later when you write about your trip. 

Write about your travels for your family. You could add it to your Family Stories Book. Or, you might consider writing an article or personal travel essay to submit for publication. Writing about your trip will be something you can do for yourself, something to help you relive the time years down the line. 

Use all the tools of writing in your travel writing just as you would any other kind. Consider vivid descriptions, active verbs, sensory details and more. Travel writing is fun. The next time you take a trip, whether by air or train or bus or car, consider writing about the good parts and the difficult ones, as well.

Check Writers' Guidelines

NOTE;  I WILL BE AWAY FOR A FEW DAYS. NEXT POST WILL BE JUNE 28

Today's topic is on writer's guidelines that many publications provide for your sake and theirs. There are writers who don't take the time to check guidelines, and they are far more likely to receive a rejection because of it. I've written on this topic before and probably will again, as I feel it is important.

The guidelines are exactly what they say--a guide for you to know if your submission fits the publication. You will find out if there is a maximum word count, or even a minimum in some cases. You'll learn whether you can submit a reprint or not. You'll discover what the editor is looking for. Will they take fiction only, or nonfiction only. Do they require a short bio sent with the submission, even a headshot photo in some cases. The guidelines a publication provides is a treasure trove in most cases.

Now and then, the guidelines will be minimal, tell you very little. Some publications offer no guidelines which is a shame as both you and the editor may be wasting your time in submitting.

The two places where I have found the most extensive guidelines are Chicken Soup for the Soul and Knowonder! (a children's ezine and print magazine no longer taking submissions) Looking at these kinds of guidelines might be a little overwhelming at first, but read through once, then go back and read it again, more slowly. Let it sink in. 

It's a good idea to  match your submission to the guidelines. Go through and check off the things your submission does, and those that it lacks. Can you make adjustments to fit the guidelines? Sometimes, you are able to do that. Other times, you can move on to another market as you know this one isn't for the piece you want to submit. 

Some guidelines are very brief. One or two sentences. Some are nonexistent. All you'll find is an address where you can send your submission, or a link to Submittable. Nothing else. I find this frustrating. Tell me what you want and what you don't want. Please! You'll find a wide range among the many writer guidelines you check. 

When I want to submit to a particular magazine, I put something like 'Cadet Quest writer guidelines' in a search engine. Then click on any one of several possibilities they send me. 

I have submitted to Chicken Soup for the Soul many times, and I know the guidelines pretty well. Even so, I read through them each time to refresh my memory, and I also want to check and see if there have been any changes. So, don't rely totally on what you learned earlier. The older I get, the more I use the check, check, and double-check method for many things. Yes, it takes time, but in the end, you'll benefit.

Make reading guidelines a part of the submission process. 

 

Stormy Weather Offers Writing Possibilities

 

A Wednesday Morning Surprise

My husband went out to get the newspaper this morning, and he was met by a surprising sight. A tree in our front yard had gone down in a severe thunderstorm we had last night. We'd had tornadic activity about 10 days ago. After that storm, the tree was leaning but still standing. Last night's high winds and driving rain made the poor tree give up and keel over. 

So, what does this have to do with writing? Weather like storms and storm damage are interesting and sometimes, exciting, situations to put in a story or novel, even a personal essay or a poem. Mother Nature offers a lot to write about when it comes to weather of all kinds. 

Adding storms to your story allows for some great description as well as emotions like fear, anger, sadness and more. 

Describing a storm gives you an opportunity to create a vivid image for your reader. Think of the possibilities of a storm at sea on a small ship, a tornado on a farm, an earthquake in a mountain village in a foreign country, a blizzard on a ranch, lightning striking and causing fires, and so many more. Write about these weather situations so your reader sees it clearly and feels like he/she is there. 

When difficult weather scenarios are in your story, it's a perfect place to up the emotional part of your story. If the protagonist is living through a storm of some kind with life-threatening qualities, he/she is going to feel and display fear and maybe anger that he/she is in this situation. When writing about how the person feels, don't tell your reader, show how the man/woman is feeling. If you can show, rather than tell, your reader is more likely to also feel some emotion. 

For an exercise today, choose one or more from the following list and write a paragraph or two using vivid descriptions and showing your reader the emotions being felt:

blizzard

storm at sea

tornado

earthquake

ice storm

mudslide

forest fire

severe thunderstorm

Descriptions vs Family Stories

 

Summer Fun

As most of my readers know, I encourage writing family stories and keeping them in a loose leaf binder so that more can be added. But, besides the stories, you should write descriptions of what life was like when you grew up, the places you lived, the activities you had, and more. 

I've written about the apartment building where I grew up. Not a story, but describing what it was like to live in a two bedroom apartment on the third floor of a building housing 62 apartments. There were six in my family, so it was cozy living. When my children and grandchildren read it, they'll know what life was like in the 1940s and 50s. How it differed from today. 

You can write descriptions of what family reunions were like in your childhood, the kind of sports and games you played, your wardrobe as compared to what the kids of today have in their closets, what kind of meals your mother served, your church lif, what the movies and theaters were like, stores and more. 

Not everything that goes in your Family Stories Book has to be an actual story with beginning, middle, and end. Reserve one section for these descriptions of what life was like during your growing-up years. 

As an example, I'm sharing a piece I wrote several years ago that was published on a website about the differences of summer days for kids now and when I was growing up. It's not a story, but a description of the way things were. If you don't know where to begin writing a description, think about your summer days as a child for a start.

Summer Now and Summer Then

In today’s world, moms start preparing for summertime months ahead. They scour the local papers and websites for summer activities for their children. The mindset today appears to be that school is out for 2 ½ months, and the children need to be busy. Lessons of all kinds fill the hot summer days for six-year-olds and on into the teen years. Summer music lessons, swimming and diving, arts and crafts, drama and a summer reading program at the local library are only a few of the activities for these vacationing children.

Some mothers make charts so that there are Mon-Wed-Fri and Tues-Thurs things to do. The week-end might be free or taken up with a traveling baseball team. The aim is make sure the children never say “I’m bored!”

And they probably won’t make that statement as they’re too busy running from one event to another, or getting ready for camp. Ah yes, there are camps of every variety you can think of. basketball camp, football camp, cheerleading camp, band camp, golf camp, day camp, soccer camp, church camp—to name only a few. Some kids attend several every summer.

By the time school starts, these over-scheduled kids must be thrilled to get back to the classroom so they can rest. I was happy to go back to school every fall, too, but for a different reason. I’d had the summer to get away from the strict school routine, to enjoy those “lazy, hazy days of summer” we heard of in a popular song.

I grew up in the 1940s and 50s in a world that doesn’t come close to resembling that of the 21st century. Summer vacation meant sleeping a little later than usual, then helping my mother around the house for part of every day. When I finished the tasks she assigned, the day was mine. Occasionally, I walked the many blocks to the pool with a friend. Or I meandered down a cinder path behind the commuter train station to the library where I marched up and down the aisles between bookshelves selecting an armload of books to take home. As soon as I finished a stack of books, I headed down the cinder path again, only to return with another armload of reading material. I didn’t get a sticker for each book I read. I read them because they were exciting, because they transported me to places I’d never seen before.

Radio soap operas made the time helping Mom go fast. I’d get so caught up in the tragic doings of all the stars of these serials, and when school started, I’d lose track of them. Would Helen Trent find love again? Did Stella Dallas come out all right? I’d only know if I happened to stay home from school with a cold or the flu the rest of the year.

As I got older, I spent many of my summertime hours babysitting neighborhood children or my own three brothers. Their toy boxes weren’t nearly as full as the ones today. A new coloring book and box of crayons brought forth cries of joy. Bubbles in a bottle appealed to every age. I’d sit on the porch steps with my babysitting charges, and we’d blow magical bubbles until the bottle was empty, and then go make more with dishwashing soap. We bounced balls against the brick wall of our apartment building where we lived, and we played Sewer Tag in the concrete courtyard. The sewer covers were safety zones, and the kids shrieked as they darted from cover to cover. I pushed babies and toddlers in strollers to the park a few blocks away, where we ambled round and round the wooded pathways. And I made children jug upon jug of Kool-Aid. I liked the little bit of cash I earned babysitting, but I had fun with the kids, too. It proved to be part of what led me into the teaching field years later.

The only places that had air-conditioning back then were the movie theaters. Marquee banners proclaimed “It’s cool inside!” as they rippled in hot summer breezes. When the heat waves hit the streets of Chicago, it was time to go to the movies to cool off. It didn’t matter what movie they showed, we found blessed relief from the sticky humidity and heat for a dime.

Maybe we did tell our mothers we were bored, but if so, I have no memory of it. Looking back, I think I’m glad I had such a carefree, relaxed summertime. A glass of Kool-Aid and a Nancy Drew mystery left me feeling happy and content. I looked forward to summer vacations, and so did my friends.

So, which way is better? Who’s to say?  Maybe we’d have been better off with a little more stimulation and structured activities, or maybe we benefited greatly from having to create our own activities. That was then, and this is now. Change may be hard, but it’s the way of the world. Now, we live in a multi-tasking, structured society. Maybe a program director of today can come up with a summer class for kids called “How To Relax and Have Fun On Your Summer Vacation.”

 

Should Writers Strive for 100%?

 

Writers must give 100% every day. That's a pretty bold statement. I doubt if very many writers give that amount each and every time they sit down to write. Or when they look for markets. Or when they are searching for inspiration. 

In a perfect world with perfect writers, 100% would be the norm. But, our world and our writing world seldom reach perfection. Nor do we as writers. There are days when we come close, and we should feel very satisfied about that.

Do forgive yourself if there are days when you can't give that percentage because you don't feel well, or life situations intervene. There will always be times when it's impossible to give that much to our writing world, but try to move on and get back on track as soon as possible.

So, how do we strive and reach that 100% mark? Setting small goals is one way. If we make our writing world goals huge, we're more than likely not going to reach them. Then, we get frustrated and discouraged. Definitely not a 100% situation. Instead, make a series of small goals. It's a lot easier to give your all when achievement is possible and in sight. 

Something else we can do is to have an attitude adjustment. Those writers who think positive are going to have better days than the ones who are down on themselves. If you think you can write a certain story or essay, you're much more likely to do so. 

Work at finding inspiration to start a new writing project. Inspiration doesn't always walk up and tap us on the shoulder. We have to create inspiration a good deal of the time. We need to put ourselves in positions where we can find inspiration. The reclusive writer is not going to find it very easily. The ones who mingle with others and put themselves in a social setting will be more likely to find a new topic and the energy to write it. Even going for a walk by yourself can bring inspiration, unless you walk with your head down, oblivious to the sights and sounds around you. I attended a zoom meeting yesterday with three other women. In the course of our conversation, there were several times that I thought about story ideas or felt inspiration of some kind. It's there, but it's up to us to recognize it and utilize it. 

Work at those three things--set small goals, make an attitude adjustment, and look for inspiration. Make strides in each of the trio, and you'll be well on your way to increasing what you give to your writing world. 

Stinkin' Rejections!

 

Writers deal with many situations. Rejections of writing they have submitted for publication is only one, but it's pretty large in stature. A few synonyms for rejection are: decline, repudiate, refuse, and spurn. snub, turn down, disapproval and several more. It doesn't matter what word you use, it's still a rejection of your work. A stinkin' rejection!

One very important thought to remember is that a rejection of writing you submitted is not disapproval of you, the writer. It is an editor declining to publish your submission. Our first thought when a rejection arrives may be: He hates it! That is possible, but not necessarily probable There are many reasons an editor does not accept what you sent. He/she may have recently published a piece that was very similar or on the same topic. He/she may have an abundance of stories or essays and needs to slow down on the acceptances. He/she might like it, but not well enough to accept and have to do a large editing job. Maybe your submission was not right for that publication, which means you need to be more careful in selecting a market. So, hating it, is far from the only reason you received a rejection.

Should you feel hurt or angry when a rejection arrives? It's only being human to feel that way at first. Disappointment figures in, too. What do you do when a rejection arrives, often after waiting a long time to hear about your submission? We all react differently. Some will be deeply disappointed. Others will be angry to the point of throwing a few things or stomping around the house shouting. Others will be  so hurt by the rejection that they'll crawl into a quiet spot to nurse their wounds. Go ahead and react whatever way feels best to you. The rule here should be that you can react, but only for a short time. Don't let the rejection rule your writing world. 

Is there a lesson to be learned from rejections? Sometimes, there is. It may not be sitting there for us to see immediately. Wait a while before you attempt to figure it out.

Deal with the rejection for a day or two, then move on. Once you've calmed down, read your submission as objectively as you can. Do you see where you might improve it? If you're happy with the piece as is, start looking for another publication where you can submit again. If you see places where you can add or delete, work on it. Most rejections come with only a No, not a reason why. There are editors, however, who will send a note to let you know why your word was not accepted. Feel blessed if that is the case. 

Stinkin' rejections! Right? They are, but also a part of our writing journey. We've all read about famous authors whose work received multiple rejections before being accepted. Why should you and I be any different. The part we need to focus on is a lesson learned and to continue growing as a writer. 

Pixie Dust For Prose Writers

 

What do you need to be able to write beautiful prose? First of all, what IS beautiful prose? I'd define it as writing that captures your attention, words that you put together to create vivid images for the reader. Beautiful prose is memorable. It stays with the reader. How are you going to achieve this kind of writing? 

According to our poster today, all you need is faith, trust, and pixie dust! If only we could run to the supermarket and buy a bucket of that pixie dust and sprinkle it across every page we write. 

In lieu of that, there are some other things to heed that will help you achieve writing that readers will remember, not only for the content, but for the way in which you wrote the story or essay. 

Prose writers often steer clear of attempting to read or write poetry, but it would be wise to read a lot of poetry to soak up the vivid images the poet gives us, the use of onomatopoeia, alliteration, similes and metaphors. Poets can make words sing, and prose writers can strive to do the same.

Avoid using a lot of passive verbs. They are merely connectors for your subject and object. They show nothing to the reader. When you edit a first draft, get rid of as many passive verbs as you can. You'll never dump all of them, but make them scarce. An active verb shows something or someone doing something. They help your reader see what is happening.

Make use of your thesaurus. If you don't own one, there are several online that you can consult. Find alternative words for the common ones we often spread through our story or essay. 

Show what something looks like. Instead of telling me that that the lost boys came upon a river, say something like: They spotted water, a silver ribbon of life meandering between the shoulders of prairie grass. Use sentences like this, but don't try to make every sentence in your story the same kind. If you do, you'll lose your reader.

We're told to use adjectives and adverbs sparingly. Ooops, I just used an adverb. Use them too often or too many to describe one noun or verb, and you are overdoing it. Instead of showing your reader what something looks like or acts like, you might lose them from overdoing it. If you say, 'The soft, cuddly, carressable blanket soothed June enough to let her sleep.' It's better to choose one of those three adjectives. Your choice, as any one of the three would work. Be even more careful with adverbs. Instead of saying 'He kicked the tire furiously and angrily.' try: He gave the tire a mighty kick. That lets you know he is angry without telling the reader. 

Use a bit of alliteration now and then. For some reason, we like the continuation of words that begin with the same letters. Carol jumped over the small snake that slithered in the grass. Use it, but don't overdo a good thing. Sprinkle it like pixie dust, a little here and there.

Onomatopoeia means using a word that relates a sound. Birds chirped. The clang of the bell startled him. Again, it allows your reader to hear what is happening as well as seeing. 

Show your characters; emotions so that it transfers to the reader. Make the reader feel what the character is feeling. Again, don't overdo it. Too much of a good thing is exactly that--too much.

To write 'beautiful prose' you must work at it a little at a time. Do read poetry and look for the small ways the poet uses vivid images. Consider using much of the same when you write prose. Look for places to change when you edit your drafts. You, the writer, see exactly what is happening, you feel what the character feels, but your job is to transfer those feelings to the reader. 

All of the above suggestions come naturally to some writers, but others must work at it. 

Nobody ever said writing is easy. If we had that pixie dust, it might help. Otherwise, we've got to rely on ourselves. 

Rating Payment for Your Writing

 

The following is a repeat post written quite a few years ago, but the topic is still pertinent today. Note that Chicken Soup for the Soul is paying the same today as it did when this was written 8 years ago.

We have a couple new members in my online writing group. They've spent some time reading the bios of the others in the group. Both asked about writing for Chicken Soup for the Soul after they noted that several of us have been published in the anthology and saw a call for submissions in our monthly marketing list.

One wondered if it was worth it for payment of only $200 when you could command a much higher amount by selling to a national magazine or some other venue that pays more. The other asked if we who have written for the anthology thought it had advanced our career.

In mulling over their questions, I came to the conclusion that it all comes down to perspective. If you're trying to make a living as a freelance writer, then the $200 isn't going to go very far in your living expenses. Freelancers who must live on what they make need a faster turnover than Chicken Soup gives and more compensation.

For hobbyist writers, which I consider myself to be, that $200 is fine and the exposure I've gotten has helped me move along in my writing world. I'm not famous, nor will I ever be, but having had stories in 15 Chicken Soup books certainly hasn't hurt me as a writer.

This anthology often receives submissions in the thousands for each book and only selects 101 stories, so making it is a real upper for the writer. It allows a writer to preen her feathers just a little when the announcement comes sailing through cyberspace into the Inbox of the email program.

As for the amount of payment, that $200 and 10 copies of the book are a lot more than most other anthologies pay writers. I've had payments of $100, $50, $25 and even one at $10. The next question might be Why do you bother submitting to those that pay so little? Every writer has to make that decision for her/himself. Ask yourself if the payment is your top priority. Or is it the addition to your publications list? Or is it achieving success with one of your stories? Is it being able to share your true-life stories as a help to others? Is it just plain personal satisfaction?

As for whether my work in Chicken Soup has advanced my career--I think it has given me some recognition which, in turn, triggered this blog to help other writers. It's also given me some satisfaction, but I'm not writing to put food on our table. I can be satisfied with these pluses whereas a person trying to earn a living as a writer might not.

Years ago, a new member in our writing group told us that she'd quit her full time job to pursue a full time writing career. She was a good writer in many ways, but she also had a lot to learn about the finer points of writing. She knew next to nothing about choosing markets, the submission process and more. Needless to say, she became discouraged in a short time. She kept at it for a few more months, then quit writing completely and started a business of a completely different type. She would have made a good hobbyist writer, using what she made as a supplement to her other income.

So yes--it's what side of the fence you're standing on as to whether writing for a publication like Chicken Soup for the Soul is worthwhile. Or any other low-pay but high-exposure publication. Knowing what you want and what you can expect from your writing will help you decide.

By Nancy Julien Kopp December 03, 2014  (original post)

Share Your Writing Successes With Others

 Today's poster tells us never feel guilty for being happy. Writers should also never feel bad about blowing their own horn over the successes in their writing life. 

Our parents tried to teach us to be humble. "Don't brag." "Don't try to look better than your friends." It was good advice in most aspects of our lives. For writers, it's a different story. If writers don't do a bit of bragging, no one is going to buy their book or read the story published in a magazine. 

Part of a writer's job is to promote themselves as a writer in every way possible. Don't look at it as bragging. It's marketing yourself as an author and letting others know about your work. 

How do you do that without jumping up and down and shouting "Hey, look at me! See what I just did.!" 

If your book was just published, or you've won an award, or your work placed in a contest, share with your friends and family. Announce it on all social media venues you belong to. If you're a blogger, tell your readers in a post. If possible, add a link to the place they can purchase the book. You're not bragging, you're trying to sell books. Creating an author website is good business, not boasting.

If you are going to conduct a workshop at a writing convention, be sure you list your achievements in the program handout. If a writer sees that you have 5 books published and have won an award for two of them, they will take you seriously. If you've only published in one magazine, it's alright to list it. You've shown that you can write something that was published. Usually, people who are asked to teach a workshop are ones who have a list of credits. 

You can give information about your writing successes without sounding like a braggart. Something like "I'm pleased to share that the script for my first play has been purchased." is fine. If you say, "I'm a fantastic writer, and I have just sold my sixteenth book. There should have been others, but the editors were too blind to see what a good writer I am." That person is not going to gain many fans. 

Many Calls for Submission ask for a short bio with the sub. Here's where you can list your achievements without feeling you're being boastful. Editors are interested in seeing if you have a publishing history or not. Even if you have never been published, you can still write a short bio about the kind of writer you are, where you live and write--things about yourself.

If you don't spread the word about any good news in your writing life, how will anyone know you are a writer? How will they look for your work to read? 

So, don't hesitate to tell others about your writing successes, but do it in a nice way. 

Pondering On Your Writing Journey

 

I like both the photo and the quote on today's poster. The horse is magnificent, and the golden hues are wonderful. But, let's ponder a bit on the words.

The Quote:  Good things come to those who Believe, Better things come to those who Wait, and the Best things come to those Don't Give up

Good things come to those who Believe:  I've written many posts about believing in yourself as a writer. It's one of the first steps we should take on our writing journey. Scratch the 'Not sure if I can do this' attitude. Start with 'I'm going to be a writer. I know I can do this by learning and writing every day.' If you don't believe in yourself, neither will your readers. Write with confidence. Write with passion. Write like you enjoy what you're doing. 

Better things come to those who Wait:  There can be a long waiting period for writers from their initial steps in the writing world to seeing signs of success. Few beginning writers get published immediately. Time and honing your skills as a writer requires some patience. Even writers who have been writing for a long time still sometimes wait for those better things to happen. 

and the Best things come to those who Don't Give up:  This part of the quote is one key to success. There are periods when even successful writers are ready to give up. There can be long periods between publications, and that's disheartening. We see times when the well seems to have run dry. Nothing left to write about. There are moments when writers wonder why they ever started on this journey. It's periods like this when you must not give up. The best things could be just around the corner. You don't want to miss them. 

Did you notice that there are four parts of the quote, other than sentence beginning, that are capitalized. Probably because they are of great importance. Look at them again:  Believe, Wait, Best and Don't Give up. What can you change in your writing life to attain all four? 

    

Don't Nix Writing Exercises

 

We're constantly being told to exercise our bodies to attain and keep good health. There are exercise tapes, exercise programs on tv, YouTube exercise films, health and fitness gyms that advertise to lure us in to work on our bodies. Exercise in any way we can to keep in shape and promote good health. We hear it so much that we start believing it, but do we devote part of each day to actually exercising? Some do, plenty do not.

Doing writing exercises is much the same. We know it's good for our writing ability, that writing exercises help move us along our writing journey, and that we can become stronger writers by doing writing exercises. But, how many writers do the exercises on a regular basis? Our intentions might be good, but life gets in the way. No, we allow life to get in the way. 

One writer I know does her Morning Pages faithfully. She has a spiral notebook to write her thoughts early each morning. It's the first thing she does each day. Cup of coffee next to her, the house still quiet, and off she goes writing about whatever comes to mind. It could be what she needs at the grocery store, or it could also be some revelation she had the night before or a concern about one of her children. Anything goes. The best thing here is that this exercise is a constant in her life. 

Some writers do a ten minute freewrite on a word they find by closing their eyes and pointing at a printed page. They don't do this haphazardly, but almost every day. It's a warm-up for the rest of the day's writing. If you use the excuse that you don't have time to do that every day, I'd tell you that you can spare ten minutes if you want to. Think of how many other ten minute slots where you actually waste time. Ten minutes is not asking too much of anyone.

If you need help finding exercises, use your favorite search engine. Or go to a bookseller like Amazon or Barnes and Noble to find a book filled with writing exercises. If that book is in a prominent place in your writing area, it would be a good reminder to flex your writing muscles each day before you begin on your work in progress, or a new piece of writing. 

Need an exercise to get you started? For each word in the list below, write a list of possible adjectives to use to describe the noun. Next, write a sentence using the noun and your adjectives.

umbrella

car

dog

building

king

star

rain

piano

bell

Don't nix writing exercises. They are meant to help you, not waste your time.

What Makes a Book Memorable?

 

The woman holding the book in today's photo could be you, me, or any one of thousands of people who enjoy reading. There are readers and also writers who are readers. 

This morning, I started thinking about a book that I'd read some time ago. The story and the characters come back to me when I'm least expecting it. Not only this particular book, but many. There are also books that I read and enjoy and never think about again. 

As I was making the bed, I thought about a book I'd read a long time ago. Something triggered my mind to go back to the main character in the book and the difficult life she'd had. The question I had was why do some books stay with us and others do not.

I credit the skillful writing of the author for offering a story that I think about now and then. The author is the one who created memorable characters and perhaps gave a sense of place that proved memorable, as well. 

Two books I read many years ago still come back to me now and then. The Shell Seekers by Rosamunde Pilcher was one, and A Woman of Substance by Barbara Taylor Bradford was the other. In more recent times, The Rent Collector by Camron Wright pops into my mind now and then. In all three, the main characters are unforgettable. There is a sense of place, and the stories are terrific. It's what makes certain books end up in the Classics list. They have lasting qualities that others do not. 

If you are a novelist or a short story writer, what can you do to write something that stays with the reader long after the final paragraph is read? You can read novels or short stories in the genre in which you write by the carloads. We learn by example. Read many reference books on creating memorable characters, writing a great story, and instilling a sense of place that makes the reader feel they are there. Attend conferences or conventions where you can hear successful writers share their expertise. 

Learn from the above suggestions, but write in your own voice. 

As You Were Saying: A Primer on Dialogue

 

Christina Hamlett returns as Guest Blogger today with a wonderful post regarding writing dialogue. This is one to keep for reference when you're writing dialogue in a short story, novel, or even a memoir.

AS YOU WERE SAYING:

A Primer on Dialogue 

For new writers, crafting credible dialogue is often one of the hardest skills to master. Just because Art Imitates Life doesn’t mean our real-life conversations with friends, lovers and children will successfully translate verbatim to stage, page or cinema. Likewise the most common mistakes I see in my work as a consultant are: (1) The characters all talk exactly the same way, (2) They talk more eloquently than normal people, (3) They talk way too much and (4) They “talk” more to the readers than to each other in explaining backstory.

Happily, the remedies are plentiful—many stemming from the 16 years I spent in theatre as an actress and director. The better listener you can be to what your characters are saying, the more convincingly your dialogue will flow.

THE SEDUCTION OF SOUND

Stand-up comics have long known that words containing G, K, P and Q are funnier than other words, especially if they’re also coupled with repetition and shuffled letters (i.e., bass ackwards). Romance novelists rely heavily on words beginning with SL, SM, WH and plenty of OOs (literally and figuratively) in the middle. One needs only to observe the lips/tongue action intrinsic to these combinations to see why they’re so often used. In contrast, business/technical writers prefer multisyllabic words that favor B, D, R and Latin suffixes. There’s an off-putting hardness and complexity to scientific dissertations because—well, quite frankly, they’re not supposed to be easily understood by regular, workaday people.

Think about the power of short-vowel sounds versus long-vowel sounds. Example: “Now you’re just getting nasty” versus “Now you’re just getting mean.”  Though both of them ascribe inappropriate behavior to the enemy, the “á” tone in the first one is harsher than the more soothing “ee” sound in the second. This makes the first sentence pack more punch.

TIMING IS EVERYTHING

Have you ever noticed how villains communicate more slowly and seductively than those trying to thwart them?  Their time-clocks, after all, are completely different from those of protagonists; they have the luxury of an adagio pace because, presumably, they’re entirely too smart to be caught up with and, thus, have an ample head start. Meanwhile, the good guys are operating at prestissimo because their lives and Western Civilization depend on it. This is reflected in shorter words, shorter lines, and a lower level of abstraction. Villains often embroider their speech with analogies to classic literature, philosophy, and antiquities as well. Again it’s because they’ve had the free time to read up on all of this while the hero was busy just trying to round up a posse.

THE ART OF CROSS-TALK CHIT-CHAT

Dialogue is a dance in which both characters are simultaneously trying to lead. What keeps the readers fixated is the fact that even what seems like casual chit-chat is an artful cross-talk in which (1) Questions are answered with other questions and (2) Answers contain subtext which fuel the fires of controversy. Skillful dialogue can be likened to a vigorous tennis game where the objective is to keep the opponent off-balance by returning the ball as quickly as one receives it. 

Yet as much as you want to keep your readers on their toes, don’t confuse them by incorporating multiple ideas within one speech or scene. Let them absorb whatever it is they’re supposed to learn in Conversation #1, then move on to Conversation #2, much like a progressive dinner allows the guests to savor and understand everything about the appetizers before they move on to the next house serving the soup or salad. 

CRITICAL DO'S AND DON'TS

Dialogue serves four functions: (1) To reveal character, (2) To advance the plot, (3) To explain the past, and (4) To articulate feelings. If a line doesn’t accomplish any of these, delete it. It’s only taking up space.

Beware the Party Syndrome. This is where writers feel compelled to have their characters come into a room for the first time and get introduced to everyone else already there. Unless it actually is a party or meeting where such introductions are natural, find other ways to convey their identities to your readers.

Avoid long monologues unless it's pertinent to the character or plot. If a character has something lengthy to say, break it up with interruptions from his/her listeners or bits of business/action. 

Are your characters talking more to each other or to the audience as a contrivance to “fill them in”? Don’t let your characters explain things in explicit detail to each other which, presumably, they each already know. 

Never use a limp word when a stronger/sexier/funnier one would be more potent. It’s also important to remember that the physical order of lines not only impacts cadence but weight. Compare: “My mother was a hooker. You go with what you’ve got.” versus “You go with what you’re got. My mother was a hooker.”

Strive for vocal variety. Men talk differently than women. Older people talk differently than those younger. Educated people talk differently than those who are not. If every character talks just like You, this is something you need to work on.

Writing for the stage or screen? Here are some more traps to avoid: (1) Your sentences are so long that actors can’t take a big enough breath to deliver them, (2) You’ve used too many Ss or combinations that make for outrageous tongue-twisters, (3) You’ve ignored the reality most people speak in fragments, use slang and get interrupted, and (4) You’ve used words to convey what could be better communicated through body language and facial expressions.

A WORD ABOUT DIALECTS

As tempting as it is to incorporate colorful dialects, the problem is that phonetically illustrative conversations featuring Scots, American Southerners, Jamaicans, etc.  will only slow the momentum of the plot, forcing your readers to concentrate on the pronunciation of individual words instead of the flow of emotions being evoked. Rather than slog down the pace by trying to capture the nuances of foreign/regional speakers, concentrate on their colloquial expressions and speech patterns instead. 

WHO ARE YOU AGAIN?

I’ve saved my favorite peeve for last; specifically, characters who keep repeating each other’s names even if they’re the only two in the room. If you think you might be guilty of this habit, go through your manuscript and circle each time a character’s name is unnecessarily repeated. (It will cure you of this pretty fast!) Hand in hand with this is the repeated use of “said” in every line. If only two people are talking, readers can easily keep up with who is saying, asking, answering, etc.

Speaking of “said,” there’s nothing wrong with using it. Dull little word that it is, it’s less intrusive than combing your thesaurus for more complicated verbs. On a closing note of mirth, I recall asking my mother at age 10 what “ejaculated” meant. After recovering from her shock, I showed her the following line in one of my Nancy Drew mysteries: “Golly!” Ned ejaculated. “That’s really exciting news, Nancy.”

I daresay it was so exciting poor Ned couldn’t contain himself.

Former actress and director Christina Hamlett is an award-winning author whose credits to date include 45 books, 264 stage plays and squillions of articles. She is also a script consultant for stage and screen and a professional ghostwriter. www.authorhamlett.com.

Be a Self-Confident Writer

 

Today's quote by Sylvia Plath says 'The worst enemy to creativity is self-doubt.' I agree with her. When a writer doubts him/herself's ability to write, it is often a one-way ticket to disaster. The more you doubt yourself, the worse it becomes. When you find yourself doubting your writing ability, it's time to wok on building your self-confidence. 

Remember back in grade school when the teacher gave you a bit of praise. You felt so good and were inspired to continue doing well in that subject. But, when the teacher scolded and told you to start doing better or you'd never have an A paper, you deflated pretty quickly. It felt like a black cloud was hovering over you all day, and you had no desire to do well in that subject. The teacher who praised helped build self-confidence in you, while the other one made you feel terrible about yourself.

What can you do to increase your self-confidence so that your writing world becomes a happy place? A few suggestions follow:

A.  Read what other writer say about the craft. Read but also believe. Don't take the attitude that what the other writer says is fine for other people, but I'll never be able to do what they say. Believe in what successful writers tell you. 

B.  Besides believing in what other writers say, start believing in yourself. An attitude of "I can do this" will take you a long way. A negative attitude will only dig the self-doubt hole deeper. Think about what made you start writing and keep it in mind.

C.  Start and finish a writing project. Key word here is 'finish' If you start myriad pieces but finish none, you'll have a hard time staying confident in your abilities.

D.  Get feedback from other writers. When you submit a piece, ask them what they like, where they think you might improve, and any other suggestions. You're sure to get some remarks about what the person who critiqued your work liked as well as tips for making it a better story or essay. The positive comments can help boost your self-confidence. (Note to those who critique:  Always make as many positive comments as possible)

E.  Muffle your inner critic. We can be very adept at tearing ourselves down. You've been there with thngs like 'what a piece of junk this is' or 'who in the world is going to thnk this is any good?' or 'why am I even trying?' Don't listen to that voice in your head that delights in telling you things that will sink you into that self-doubt hole. You can turn off the tv and the radio, so learn to turn off that inner critic, too. 

F.  Set small, realistic goals and meet them. Don't set a goal to write a novel in three months. Set a goal of x number of chapters this month. Don't set a goal of submitting to twenty publishers this month. Make it two or three. 

G.  Celebrate small victories. No accomplishment in your writing life is to be ignored. Keep a list of those winning moments. Read that list as a good reminder.

H.  A lack of confidence can come from a lack of knowledge. You can fix that by taking time to read and learn more about the craft of writing.

I.  Make a list of your strengths in writing. Add to it when you can. Don't only create the list, read it now and then to remind yourself. 

J.  Look in the mirror every day and tell yourself that you are a writer, that you are continuing to learn your craft, and that you will write as well as you can every day. 

Key to being a self-confident writer is to build yourself up instead of tearing yourself down. 

Travel Journal Notes from D-Day Sites

  The following is what I wrote in my travel journal on March 16, 2013 when we visited the D-Day beaches and cemetery in Normandy, France. I jotted down what we'd seen and heard while at this historic spot where the battle that turned the war, allowing the allies to liberate France from German occupation and to move on to other fronts in this final year of WWII. 

I hope writers, and others, will help keep these memories alive for the younger generations and those yet to come. It's history and important to the freedom our country has. 

What I wrote in my travel journal...

Today was our full day visiting the D-Day sights on the channel coast in Normandy. We left the ship at 8 a.m on a bus. The weather was no better than it has been all week. Wet, cold, and extremely windy. But on with the show! Our program director, Isabelle, is so knowledgeable and a delightful young woman. Not so young as she has recently become a grandmere! But she looks very young. She is our guide for many sights but for some of the city tours and this special one today, we have had special guides who are filled with information but able to parse it out in doses that can be absorbed easily. Today, the guide was a woman named Claire.

Our first stop was at an area that still has the pillboxes that the German gunners holed up in, shooting at the Allied forces who were landing. Some of the remains of the huge guns they used are still there. We walked over a wet, marshy field to reach these areas, slipping and sliding in mud and snow. Yes, snow which is seldom seen in these parts. Lucky us! We experienced it 3 days this week!

Then it was on to Arromanches near the Gold Beach, where the British landed on June 6, 1944. Ken and I still observe the day by proudly flying our flag at home. Sadly, many young people in our country have no idea what D-Day means nor its major significance. The French people still hail it as one of the greatest days ever!

The American Military Cemetery came next. Walking though the well-kept, perfectly manicured grounds brought silence to our group. Over 9,300 servicemen and 4 women are buried there. We participated in a short ceremony. The group faced a wildly whipping American flag, hands over our hearts, as the national anthem was played followed by volleys and Taps. It brought a lump to my throat and tears trickled down my cheeks. I'm seriously patriotic and these things get me every time. Ken and I walked to the beach and looked out on the quiet waters trying to imagine what it was like that day so many years ago. The guide told us of one visitor who had been master of one of the landing barges. He said it held 32 men and 31 were seasick. They all landed covered in vomit. And yet, they landed and moved on to do the job they were sent for.

Two more stops at Omaha Beach concluded our day. So many memories, so much meaning. Somehow, the cold, wind and occasional rain faded away with all that we'd seen

Tomorrow, we will explore this coastal town of Honfleur.

By Nancy Julien Kopp Nancy - March 16, 2013 (original) 

Musing On Editing Your First Drafts

 

It's exciting when we come up with a story idea, mull it over, and write the first draft. We put it away for a few days, then read it for the first proofreading and editing. Note that I said 'the first' because one go round isn't usually enough. 

I had a personal essay piece in my files that I decided I would enter in my KS Author's annual state writing contest this year. I read it over and seemed fairly satisfied with it, but I sent it to my online writing group for critique. Four people sent me their thoughts and suggestions. The objective eyes of others saw so much more than I did. 

The last few days, I've been looking at their suggestions and attempting to incorporate many of them in my essay. They suggested omitting a few things, and I was able to see the reasoning, so cut parts here and there, then added a few things that they were wondering about. The editing process this time might be called 'slashing and increasing.' 

Our poster today tells us to 'edit without mercy' which is the mindset we must have when we edit. When it is suggested we cut something, it is not so easy to do. Those words are our words, ones we wrote and hate to lose. But, if getting rid of this and that makes a stronger essay, I'm willing to do it. 

As for the adding part, the suggestions given were good ones. They were parts that I, the writer, knew but had not conveyed well to the reader. The writer sees the overall picture in his/her mind, but the reader sees only what the writer has put into words. 

One critiquer went into detail about her concern about the title. I now have a new title, which was difficult to find. I'm still not sure if it is the one that should be my final choice.

Many writers edit completely on their own, and that's fine if it works for them. I do that sometimes, too, but more often, I submit my draft to my online writing group. I'm almost always glad that I did. Other writers catch much more than I do on my own. 

Now that I've worked on the essay again, I've set it aside for a couple days. When I bring it out again later this weekend, I hope I am satisfied with it. If not, another edit will be done. There is no set number of times we should edit our work. A lot depends on how rough that first draft was. The rougher it is, the more editing needed. Another factor is how much of a perfectionist you are. Where do you draw the line and decide enough is enough? 

There are writers who edit numerous times, but find themselves still not satisfied. How long should you go on to one more edit? That's for the writer to decide, but after three times, I'd advise submitting to a publication and see what happens. 

There are books on editing and revising your drafts. It might be to your advantage to read one of them. 

Writers Must Also Be Readers

 

In today's quote, Stephen King sounds almost harsh in the advice he gives to writers. "If you don't have time to read, you don't have the time (or the tools) to write. Simple as that." He is never one to use a lot of words. He uses as few as possible to get a point across.

I have always been a proponent of writers also needing to be readers. Not occasional but regular readers. You might counter that by telling me that you can't spend a lot of time reading as it cuts into writing time. Yes, it can cut down on the time you have allotted yourself for writing, but if extensive reading can help to make you a better writer, it might be worthwhile. 

I'm not suggesting that all your reading needs to be nonfiction books about the craft of writing. Read those, but also read novels of all kinds, books of essays, or poetry, anthologies and short story collections. In other words, read a wide variety. 

Because I am a writer, when I read, I pick up bits and pieces about the craft, sometimes subconsciously. When I read a particularly lovely phrase or descriptive sentence, I stop and read it again for the sheer pleasure of reading good writing. I take note of how the writer handles a problem the protagonist has. I notice if tension builds satisfactorily or not. I am aware of the lesson or universal truth the essayist writes about. Why?

I've read enough books on how to be a writer that I'm tuned into these things. The longer you write, the more aware you are when reading the work of others. 

Am I telling you to go ahead and copy this writer or that one? No. You want to develop your own voice, or style of writing. Learn from other writers' work, but do not attempt to be a clone of any one of them.

I have only known one writer on a personal basis who was not a reader. In fact, she shunned reading in a big way. She started writing late in life, and she told me she didn't have time to waste with a book in her hands when she could be typing on her keyboard turning out folksy stories on a regular basis. I often teased her about her aversion to the simple act of reading the work of other writers. Fortunately, she was in the minority.

I think that most writers have been readers over their lifetime. Most likely, reading in their early years helped nurture a desire to write. I have always been a voracious reader, and I wanted to write stories myself at a young age. Life got in my way, so I didn't start writing until I was in my mid-fifties, but I had continued to be an avid reader. I have no doubt that my reading helped my writing path.

Read for pleasure, but also to learn more about the craft of writing.

If you've not read Stephen King's On Writing book, consider reading it now. It's one of the best. 

Writing With Emotion

 

Here we are on the first day of the sixth month of the year 2022. How quickly it seems to have arrived! I was a bit emotional as I turned the page on my calendar this morning. June 2022 is a month our family has been waiting for. Our oldest granddaughter is being married on June 25th. Just 3+ weeks away. It seems to this grandmother that she was just a toddler not long ago. She is a high school English teacher and her fiance is a fireman/paramedic. Both are pursuing careers in service to others. I know their wedding day will be one of great emotion for many in attendance.

Emotion in writing is today's topic. It's not given large numbers of pages in books that tell us how to write. Some barely mention it. Being able to write with emotion is what makes a good piece even better. It deserves a lot of space in a reference book on our craft.

The poet, Robert Frost, said "No tears in the writer, no tears in the reader. No surprises in the writer, no surprises in the reader." We know he's telling us that we, as writers, must feel the emotion in order for our readers to feel it, as well. That might not be as easy as it sounds.

We often feel the emotion inwardly. Something has moved us, and we sense it but don't succeed in putting that feeling into the words we write. Why does that happen?

I think that sometimes we are afraid of baring our deepest inner feelings. Experiencing it and sharing intimate fervor with the world can be on two different planes. If you're going to be a successful writer, you need to learn to share your emotions in the words you write. One of your goals should be to make your reader feel the same as you do about whatever the situation is. If you were moved to tears, write so that the reader is, too. If joy bubbles forth, put it into words to give the same experience to the reader. 

There are writers who might be reluctant to share their innermost feelings. They might think it is too private, so better to merely mention it, not delve into divulging the true thoughts. It's the writer who can 'bare it all' who will have readers feeling the same emotions. They are also the ones who will get published or win contests.

Don't write "I was happy." and then move on. Show your reader your happiness. Or sadness or anger or humiliation or fear or whatever it might be. Show them your body responses. Did you break out in a cold sweat? Did your heart start beating more rapidly than usual? Did you get a sick feeling in the pit of your stomach? Did you laugh so hard you cried? Did you have the biggest smile ever, or did your forehead wrinkle with the big frown you had? Did you do a little hop-skip or a twirl or some dance move? Was it hard to swallow over the lump in your throat?

Show vs tell has a definite place in getting emotions across to your readers. 

Can you think of a story or a book that made you cry? Credit the writer for the  ability to bring out emotion in you, the reader. Granted, some people are more emotional than others. I am one who can be moved to tears in books, movies, watching a patriotic show, or visiting a moving sight. But, even if you don't actually cry, do some stories make you feel some emotion? What about one that left you feeling very happy? 

Good writing brings emotion to both the writer and the reader. As writers, we need to let our emotions rise to the surface and spill into the words we write.