Category Archives: books

Different Strokes for Different Folks

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Different Strokes for Different Folks

Hello, everyone. I hope all of you experienced a great week. Today I’m giving you a blog that discusses how you can broaden your story and your readership from an article by Bharti Kirchner. This was originally published in the Writer magazine.

Why venture into unaccustomed territory when it comes to characters? In a globalized world, re regularly meet people.e very different from us in race, class, ethnicity, religion, politics or ideology.  Modern novels and memoirs, as mirrors of a society, increasingly depict this heterogeneity.

In addition to expanding our readership, a diverse character, whether the protagonist or a secondary character brings a broader voice to a story. In the case of the novel Tulip Season, protagonist Mitra meets a mysterious German man, and the contrast between the two adds an element of tension.  With dissimilar actions, attitudes and world views, backgrounds and upbringings, their interactions spark a great exploration of Mitra’s world.

Creating Authenticity: How do you get started writing about a person foreign to you? By immersing yourself in that particular culture of community through direct contact and by building relationships.  Armchair travel can also help, as can books, videos, movies, art, and the Web. Remember, in the end, it’s your story and it’s fiction.  You’re facing challenges no matter what.  “If you’re going to write fiction, you’re going to write about people who aren’t you,” says David Guterson, author of 10 books, including Snow Falling on Cedars.  “You should feel some healthy trepidation about that.”

Respect, openness, and empathy are keys to depicting an unfamiliar culture or perspective.  Here are additional tips and techniques.

First Impressions: What a reader first notices is how the character looks, dresses, sounds and behaves.  Bring the character alive with physical descriptions, but not too much and not all at once.  Allow readers to use their imagination to fill in the blanks.  Pay special attention to the rhythm of the spoken language.  A foreign born person might speak with an accent and fall back on native words as necessary.

A Character from Inside Out: You’re writing about individuals, and the methods you usually employ to develop a character of any kind still applies. Remember that all cultures have hopes, fears, and dreams, and it’s your job to portray that.

Does a diverse character have to be sympathetic?  Peter Mountford, the author of two novels, including A Young Man’s Guide to Late Capitalism, says no.  “Actually, I’m not sure he is very sympathetic because of the choices he makes,” Mountford says of Gabriel do Boys, the 26-year-old, biracial protagonist in his novel.  “He builds a lucrative career instead of abandoning it for love.  I feel for him, definitely, but a lot of readers struggle with him, and I suppose that is the key to writing “the other,” for me.”

Beliefs and Conflicts: Every culture or community holds common beliefs about marriage, family, money, status and friendship.  A character is likely to suffer moth internal and external conflicts when going against these beliefs and sometimes even when conforming to them.

Showing Universality: By wrestling with choices and obstacles, a diverse character, like any other, grows and changes.  In the process, he or she displays common human characteristics as fear, anger, joy and love.  Although I’m different, I’d feel much the same in the same situation, the reader realizes, and perhaps gets more involved in the book.

You can make a character accessible in other ways.  Show how he or she relates to friends.  Let him or her grapple with everyday issues like traffic.  An element of humor can also help.  We gravitate toward people who lighten our days with a joke or a funny situation.  It is in those moments that we let go of our differences and embrace our common humanity.

 

I hope this article helps to make your writing this week easier. The more knowledge we have the better writers we are.  Blessings to all.

Eight Steps to Become Noticed

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Hello everyone, I have been away from my blog for what seems like forever and I have missed it and my online friends.  Today I want to share with you an article I read by Pete Croatto, on how to get noticed by the editors. If you want an editor it will take some work to get noticed.

  1.  Take Initiative:  In an ideal world, our talent would be a siren song for editors far and wide.  In a world of tight budgets and staff meetings, editors need story ideas and good ones.  That means writing a pitch letter that shows you know the publication and what it wants. “What gets me to notice someone is I can notice immediately if they have a familiarity with the magazine,” says Mark Rotella, senior editor at Publishers Weekly.  “They might have mentioned an article they had read or a review that they read.  Usually, people are pretty specific about what section of the magazine they want to write for.  Basically, if they’re pitching me about the magazine, I want to see that they’ve read it.”
  2. Make the job Easier:  Sara Benincasa, author of Real Artists Have Day Jobs ( And Other Awesome Things They Don’t Teach You in School), says it’s key to do as much work for the editor as possible without overstepping.  “Don’t expect that your editor has a comprehensive knowledge of the television show or trend or book or political issue that you would like to discuss in your writing,” she says.  “Provide links, easy explanations.  Provide assistance without the legwork to show your editor that your pitch is for a story that will bring in views, and readers attention in a positive way.”
  3.  Follow Up:  This isn’t tennis.  The ball keeps moving only if you keep hitting it.  If you haven’t heard back after a week or two, politely inquire so you can either start writing or send your idea elsewhere.  Rotella, who has written for the New York Times and American Heritage, says the delay worked or the pitch came at the wrong time.
  4. Try, Try Again: An editor’s disinterest or silence should not be taken as an affront.  That even applies to repeat clients. “I follow up and pitch more stuff without being annoying and contacting the editor too much,” Benincasa says.  “If they liked my work the first time, they will respond.  If they did not like my work they will not respond.  I do a pitch, I follow up once and if I don’t hear anything, I move on.”  In other words, our confidence in your idea should drive you.
  5. Look Beyond Big Names:  Chances are you’re not going to make it into The New Yorker and not every profile will land in GQ. (But don’t be afraid to try.) Get published, get paid and use the clips as a down payment for more desirable venues.  Write Always.  That’s the only way you get better and pay your bills.
  6. Proofread A Lot:  Once you get an assignment, it’s easy to get noticed for the wrong reasons.  Rotella has an aversion to writers who can’t meet deadlines or follow directions, but says, “Nothing is worse, for me than if I have to spend too much time editing because of sloppiness.  That is a real discouragement.” Be professional. Proofread, fact-check and make yourself available to address any concerns your editor has.
  7. Play Nice with Others:  Veteran freelance journalist Jen A. Miller got a big assignment from a new publication when a fact-checker there remembered Miller’s work at another publication.  “Sometimes that can be an incredibly tedious process,” she says. “You’re already done with a story, you don’t want to deal with it anymore, you don’t want to deal with the fact-checker, but you don’t know where that fact-checker is going to end up.”
  8. Finally, Be Easy to Find:  That comes courtesy Miller, author of Running: A Love Story and a regular contributor to The New York times and Runner’s World.  She believes every writer must have a website. “It sets you up as a professional,” she says.

I do hope this article was helpful and it gave you some incite on what you need to do to snag that elusive editor.  Have a blessed week.

Who Is That Character?

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Ninja_Vector_Character_Preview

I’ve been told you must know your characters.  Your main characters desires should be known.  If you want your character to gather the sympathy from your readers, then give the character a strong desire.  What is being strived for, a new job, romance, riches, and knowledge?  If your character doesn’t have a need, do you think your readers will find excitement in your book? How do you say “boring?”You have to make your character multidimensional, and not leave him flat.  What creates the most vivid picture, 3D or regular television?   It is a matter of contrast in your characters.  As humans, we are very complicated, and you have to show that complication in your characters also. That way your reader can get interested in your character.

Your contrasts should be worked into your story, so they do not become roadblocks for the reader.  You want your story to keep moving forward.  You can have your character step out from the usual character portrayed as long as the tendency has been shown before.  That way it is not a stopping point.

Gotham’s “Writing Fiction” states,” your characters should have the ability to change, and the reader should know it.  Change is particularly important for a story’s main character.  Just as the desire of the main character drives the story, the character’s change is often the story’s culmination.”

This doesn’t mean your main character has to change, but the reader should always know change is possible.  Predictability is created if you do not give the character the potential to change.

I have covered a few ways to help you create a character that your reader can get to know.  The video today on creating characters.

PS this video gives lots of good information, but there is cafe noise in the background.

6 Steps for Writing a book Synopsis

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snopsisSince Princess Adele’s Dragon has now been published I have to write a synopsis of the story.  I decided to look for some help and found this blog by Marissa Meyer. It broke the synopsis down into easy to handle pieces. I hope you find it helpful.  Shirley    http://amzn.to/25lUOYM
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Confession: I enjoy writing query letters. I know that most writers loathe them, but I always thought the query letter was a fun challenge. The challenge of trying to distil your novel down to its essence, giving just enough information to draw the agent or editor into the story, but without giving away so much that the manuscript loses all sense of mystery.

However, I feel quite differently about the second-most dreaded item of many submission packages: the Synopsis.

The book synopsis is that three- or four-page snapshot of the book, that essentially tells your story from beginning to end while seemingly stripping it of any intrigue, humor, or emotional resonance. To me, writing a synopsis that could leave a reader still wanting to read the actual manuscript always seemed like a much bigger challenge than the query letter.

Unfortunately, it turns out that getting published does not necessarily mean we don’t ever have to write a synopsis again.

Last January, when it came time to my agent and me to start talking with my publisher about My Next Book (which was the Super Secret Project I wrote during NaNoWriMo last November), the submission package we pulled together was remarkably similar to the package we’d used to sell the Lunar Chronicles:

– A pitch letter (similar to a query), illustrating the concept and major conflict of the book.

– The first 50 pages, edited and polished to a glowy sheen.

– The synopsis of the book (although some plot points are subject to change).

So rather than whine and complain about how much I hate writing synopses, I decided to take the opportunity to embrace the synopsis writing challenge, and figure out a process for writing the synopsis that didn’t seem quite so painful and intimidating and, in the end, left me with something I was pleased to show my editor.

I’m not allowed to really talk about my new project,* so I’m going to use examples from the synopsis I wrote for CINDER way back when.

Step 0: Write the book!

If the book isn’t written yet, I feel like you’re writing an outline, not a synopsis, and I’ve talked about outline writing at length in previous blog posts. For the purpose of this synopsis-specific guide, let’s assume you have the book drafted out, or even completed.

Step 1: Skim through the manuscript, noting the important events of each chapter.

Try to boil every chapter down to just one or two sentences. What is the point of this chapter? What is the most important thing that happens?

Some chapters will be significantly longer than a sentence or two, particularly the opening chapters (as they tend to introduce a lot of information about the world and the main characters) and the climax (which could revolve around lots of complicated reveals and twists).

And yes, include the ending! From who wins the final battle to whether or not the protagonist hooks up with the love interest in the end. One of the main purposes of a synopsis is to show the full arcs of your plot and subplots, so don’t leave out those all-important resolutions.

Step 2. Embellish the beginning.

Just because you can’t use pages and pages to set up the world and protagonist’s character in the synopsis doesn’t mean you shouldn’t give the reader a little bit of foundation to stand on. The first paragraph of the synopsis should give the same basic information you convey through the book’s first chapter: where and when does this story take place, who is the protagonist, and what problem are they facing right off the bat?

xample: LINH CINDER is a cyborg, considered little more than a technological mistake by most of the society and a burden by her stepmother, ADRI. But her brain-machine interface has given her a unique skill with mechanics, making her, at sixteen, the best mechanic in New Beijing.

Step 3: String your short chapter summaries together, using standard synopsis formatting.

Here, it will begin to look like a story, but an incredibly sparse and drab one. Don’t worry about that. Just focus on getting all the technical formatting stuff figured out, so you don’t have to re-write it all at the end.

Standard Synopsis Formatting

– Written in third person, present tense, regardless of what POV or tense the book is written in.

– The first mention of each character’s name is put in all-caps (so that they can be easily spotted).

Example: When she arrives home, she discovers her two stepsisters—arrogant PEARL and vivacious PEONY—being fitted in ball gowns.

Step 4: Read through, with a focus on plot.

Distilling each chapter down into just a sentence or two can lead to lots of apparent plot holes and lost information. Read through what you’ve written and check that every event in the story naturally leads into the next. Imagine beginning each sentence with a Because / Then structure, and insert further explanation or character motivations as necessary.

Example: Cinder is worried that if she doesn’t fix the hover, Adri will sell off IKO to pay for the repairs herself. That night, Cinder goes to the junkyard to find replacement parts…

(Could be read as: Because Cinder is worried . . . then she goes to the junkyard…)

Step 5. Read through, with a focus on character arc.

Now that the plot makes sense from beginning to end check that you’re adequately showing how your protagonist evolves as a result of the events in the story. Do readers get a sense of who they are at the beginning and how they’ve changed by the end? Look for those Big Moments in the story that change your protagonist’s attitudes and goals. Indicate how those moments effect the protagonist emotionally, and show how their goals and motivations change as a result.

 

Example: Without Iko and Peony keeping her tied to Adri, Cinder vows to fix up the abandoned car she saw in the junkyard and run away.

 

Step 6. Trim and edit.

Now that you have all the necessary information read through a few more times and trim it up as much as you can. Be ruthless when it comes to removing excess words and phrases that don’t help you tell the story. Choose your descriptive words carefully, ensuring that you’re using words that carry a lot of weight. My book synopses for CINDER and New Secret Project both came in around the 1,500-2,000 word range, and that’s not a lot of room to work with! So edit, edit, edit.

7 Tools For Pacing A Novel

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PACEPacing is a crucial component of fiction writing. After all, it’s important to keep your readers “hooked” throughout your story. Whether you are just getting started in writing or looking to break into fiction writing, you’ll need to know the basics of how to pace a novel. Read today’s tip of the day from Crafting Novels & Short Stories. In this excerpt written by Jessica Page Morrell, she explains what pacing is and seven ways to keep your story moving at the right pace.

What is Pacing in Fiction?

Pacing is a tool that controls the speed and rhythm at which a story is told, and the readers are pulled through the events. It refers to how fast or slow events in a piece unfold and how much time elapses in a scene or story. Pacing can also be used to show characters aging and the effects of time on story events.

Pacing differs with the specific needs of a story. A far-reaching epic will often be told at a leisurely pace though it will speed up from time to time during the most intense events. A short story or adventure novel might quickly jump into action and deliver drama.

Pacing is part structural choices and part word choices and uses a variety of devices to control how fast the story unfolds. When driving a manual transmission car, you choose the most effective gear needed for driving uphill, maneuvering city streets, or cruising down a freeway. Similarly, when pacing your story, you need to choose the devices that move each scene along at the right speed.

Seven Literary Devices for Pacing Your Story

You need speed in the opening, middle, and climax of your story. Sure, you’ll slowdown from time to time, especially to pause for significance and to express characters’ emotions, but those times will usually appear just before or after a joyride of skin-tightening speed.

There are lots of tools to hasten your story. Some are better suited for micropacing—that is, line by line—and some are better suited for macropacing—pacing the story as a whole. Let’s take a closer look at each device.

ACTION. Action scenes are where you “show” what happens in a story, and, when written in short- and medium-length sentences, they move the story along. Action scenes contain few distractions, little description, and limited transitions. Omit or limit character thoughts, especially in the midst of danger or crisis, since during a crisis people focus solely on survival. To create poignancy, forgo long, descriptive passages and choose a few details that serve as emotionally charged props instead.

CLIFF HANGERS. When the outcome of a scene or chapter is left hanging, the pace naturally picks up because the reader will turn the page to find out what happens next. Readers both love and hate uncertainty, and your job is to deliver plenty of unfinished actions, unfilled needs, and interruptions. Remember, cliffhangers don’t necessarily mean that you’re literally dangling your character from a rooftop as the scene ends. If your characters are in the midst of a conversation, end the scene with a revelation, threat, or challenge.

DIALOGUE. Rapid-fire dialogue with little or no extraneous information is swift and captivating, and will invigorate any scene. The best dialogue for velocity is pared down, an abbreviated copy of a real-life conversation that snaps and crackles with tension. It is more like the volleying of Ping-Pong or tennis than a long-winded discussion. Reactions, descriptions, and attributions are minimal. Don’t create dialogue exchanges where your characters discuss or ponder. Instead, allow them to argue, confront, or engage in a power struggle.

PROLONGED OUTCOMES. Suspense and, by extension, forward movement are created when you prolong outcomes. While it may seem that prolonging an event would slow down a story, this technique actually increases the speed, because the reader wants to know if your character is rescued from the mountainside, if the vaccine will arrive before the outbreak decimates the village, or if the detective will solve the case before the killer strikes again.

SCENE CUTS. Also called a jump cut, a scene cut moves the story to a new location and assumes the reader can follow without an explanation of the location change. The purpose is to accelerate the story, and the characters in the new scene don’t necessarily need to be the characters in the previous scene.

A SERIES OF INCIDENTS IN RAPID SUCCESSION. Another means of speeding up your story is to create events that happen immediately one after another. Such events are presented with minimal or no transitions, leaping via scene cuts from scene to scene and place to place.

SHORT CHAPTERS AND SCENES. Short segments are easily digested and end quickly. Since they portray a complete action, the reader passes through them quickly, as opposed to being bogged down by complex actions and descriptions.

SUMMARY. Instead of a play-by-play approach, tell readers what has already happened. Because scenes are immediate and sensory, they require many words to depict. Summary is a way of trimming your word count and reserving scenes for the major events. You can also summarize whole eras, descriptions, and backstory. Summaries work well when time passes, but there is little to report, when an action is repeated or when a significant amount of time has passed.

WORD CHOICE AND SENTENCE STRUCTURE. The language itself is the subtlest means of pacing. Think concrete words (like Prodigy and iceberg), active voice (with potent verbs like zigzag and plunder), and sensory information that’s artfully embedded. If you write long, involved paragraphs, try breaking them up.

Fragments, spare sentences, and short paragraphs quicken the pace. Crisp, punchy verbs, especially those with onomatopoeia (crash, lunge, sweep, scatter, ram, scavenge) also add to a quick pace. Invest in suggestive verbs to enliven descriptions, build action scenes and milk suspense.

Harsh consonant sounds such as those in words like claws, crash, kill, quake, and nag can push the reader ahead. Words with unpleasant associations can also ratchet up the speed: hiss, grunt, slither, smarmy, venomous, slaver, and wince. Energetic, active language is especially appropriate for building action scenes and suspense, and for setting up drama and conflict.

A fast pace means trimming every sentence of unnecessary words. Eliminate prepositional phrases where you don’t need them: For example, “the walls of the cathedral” can be written as “the cathedral’s walls.” Finally, search your story for passive linking verbs and trade them in for active ones.

By: Courtney Carpenter

Writer’s Digest

Six Easy Grammer and Format Tips

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Grammer

The following blog is from BubbleCow which I received this morning.  Because of my editing on Princess Adele’s Dragon, I seem to be paying a lot more attention when I see these helpful tips. I wanted to share it.  Have a blessed day.  Shirley

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I’m talking about that dirty word: grammar.

But more than that, I’m also talking about formatting, which is kind of like grammar for the computer-age. Bold statements aside, if you want to be taken seriously by publishers, editors, and readers, then you’ve got to get your head around formatting conventions on word processors. I often joke that you wouldn’t start playing a sport without first reading the rules. It is the same for writing. You need to be getting the basics correct; there’s no excuse. As a writer, you simply need to know this stuff.

I’m a big fan of writing software in general and favour a whole host of different word processors. However, Microsoft Word is still the industry standard, so I’ll be using that as a reference point. These rules will still apply whether you’re using Scrivener, OpenOffice, LibreOffice, or whatever your software of choice is.

OK, so with all that said, here’s the six grammar/formatting issues that drive us mad:

Ellipses – yep. They showed up last week and they’re back again. A few of you seemed unclear as to the nature of an ellipsis. Well, an ellipsis is the three dots writers use to denote an omission or to show a pause in speech. Here at BubbleCow, we often receive manuscripts where the writer has thrown in a few ellipses but with variable numbers of dots. In fact, some writers seem to think that the more dots they add, the more mysterious and tantalising their cliff-hanger becomes. “I was never there…………………… OR WAS I?” Oh dear. Ellipses only ever have three dots. No more, no fewer.

Two other things to say about ellipses. The correct way to write an ellipsis is . . . – that’s dot space dot space dot. The problem is that this plays havoc with some eBook conversion tools. Therefore, our house style is to alter them to … (three dots with no spaces). This will be picked up in the conversion process and handled correctly.

What about when an ellipsis is used at the end of the sentence? What happens to that extra full stop? Should it be three dots (…) or three and a full stop (… .). The answer is a little confusing. There’s no set rule on this, with different style guides opting for different options. At BubbleCow, our house style ignores that last full stop. Just the three dots for us, please.

Here’s a great LINK to an article on ellipses.

Writing numbers – this, confusingly, is not another case of consistency. Now, we get hundreds of manuscripts where the writers rather sensibly choose to either use either purely numeric or purely written numbers for the entirety of their manuscripts. Then we get those who arbitrarily use a mixture of the two. Strangely, both parties are wrong in this case. Our house style (based on the Chicago Manual of Style) is as follows: numbers up to 100 must be written in words – so: one, seventeen, ninety-four. After that this becomes a little time consuming, so we allow these larger numbers to be written in digits: 1003, 784, 100,000. All you have to remember is that 100 is the magic number.

Spaces – now I know what you’re thinking. How can anyone mess up a space? Do we receive manuscripts that are just spaceless walls of interlinked words? The answer is no.

I’m talking about making sure that you’re only using one space between words. Now I know how it is – you’re writing passages, deleting them later on, shuffling around paragraphs – things get messy. But I recently ran a find-and-replace on a manuscript and it found 384 instances where two spaces had snuck in instead of one.

We’ve talked about single and double spacing before and it kicked up a bit of a storm. You see back in the olden days of typewriters and typesetting, double-spacing was standard. Those days are over! Double spaces are a nightmare for those unlucky publishers who’re in charge of creating eBooks. They mess up the formatting, resulting in unattractive, oddly-spaced electronic books that inevitably have to scrapped and redone. Our advice? Stick to one space.

Page breaks – this one is easy. The reason I’ve listed it here is because eBook conversions rely on page breaks between chapters. They will see the page break and understand that they need to do something special. If you’ve just pressed Enter a load of time to move the text to the next page you are in trouble. Not only will the conversion process potentially miss the chapter break but you’ll also lose the positioning if you then add or remove text in the chapter.

The bottom line is that you should always use a page break to go to the next page before starting a new chapter. This makes for a clean and presentable eBook, and will also help the printers if you’re going to print copies.

Paragraph breaks versus line breaks – these two phenomena might need explaining as they’re both pretty similar. Indeed, Microsoft Word didn’t start distinguishing between them until about 2003 (don’t quote me on this), but in modern word processing, the difference is very important.

OK, if you open up Word, type “BubbleCow is great,” and then press Enter, you’ll notice that the cursor jumps down to the line below, leaving some space between the previous line and the new one. This is a paragraph break. This is the one you want.

If, however, you were to hold Shift and then press Enter, the resulting new line would be right up beneath “BubbleCow is great,” with no space between them.

A great way of checking this is to use the Show/Hide Nonprinting Characters button, found on the Home tab in Word (it’s the odd black backwards P symbol). A paragraph break will show up as one of these backward-Ps, whereas a line break will be a cornering arrow. You want the P.

Line breaks are a nightmare for those in charge of formatting your masterwork – it groups all the text together, which means that text becomes harder to arrange on the page and stubborn in its disobedience. Using line breaks to create space (at the end of a chapter, for example, so you can get that page break in) can create nightmares for eBook conversions. Paragraph breaks all the way. One of the first things I do with a new manuscript is to find and replace all line breaks with paragraph breaks.

Indentation – those pesky line breaks also have a habit of messing up any system of indentation you might (should) have going. Indents only trigger on paragraph breaks, so there’s an extra reason always to paragraph break! But indents are important in their right.

Here at BubbleCow, we want the first paragraph of each chapter to be a straight flush, with the first sentence in line with the following sentences. After that, though, every paragraph needs its first line to be indented using the Tab key (not spaces! These tend to be messier and can disappear during the eBook conversion process). Again, this is one of the first things we add when we receive a new manuscript, as it helps your manuscript appear clean, streamlined, and readable. It also makes eBook versions far more attractive and is necessary for the conversion process.

 

8 Words to Seek & Destroy in Your Writing

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This is a piece previously posted by Robbie Blair that contains useful information that I want to share with you. Since I’m in the process of doing my final edit on Princess Adele’s Dragon I found this article helped me.  Maybe it can help you also.  Have a blessed week.  Shirley

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Creating powerful prose requires killing off the words, phrases, and sentences that gum up your text. While a critical eye and good judgment are key in this process, some terms almost always get in the way. Here are eight words or phrases that should be hunted down in your story and deleted with extreme prejudice.

“Suddenly”

“Sudden” means quickly and without warning, but using the word “suddenly” both slows down the action and warns your reader. Do you know what’s more effective for creating the sense of the sudden? Just saying what happens.

I pay attention to every motion, every movement, my eyes locked on them.
Suddenly, The gun goes off.

When using “suddenly,” you communicate through the narrator that the action seemed sudden. By jumping directly into the action, you allow the reader to experience that suddenness first hand. “Suddenly” also suffers from being nondescript, failing to communicate the nature of the action itself; providing no sensory experience or concrete fact to hold on to. Just … suddenly.

Feel free to employ “suddenly” in situations where the suddenness is not apparent in the action itself. For example, in “Suddenly, I don’t hate you anymore,” the “suddenly” substantially changes the way we think about the shift in emotional calibration.

“Then”

“Then” points vaguely to the existing timeline and says, “It was after that last thing I talked about.” But the new action taking place in a subsequent sentence or sentence part implies that much already. You can almost always eliminate your thens without disrupting meaning or flow.

I woke up. Then I, brushed my teeth. Then I, combed my hair. Then I , and went to work.

“Then” should be used as a clarifying agent, to communicate that two seemingly concurrent actions are happening in sequence. For example, “I drove to the supermarket. Then I realized I didn’t need to buy anything.” Without the “then,” it would be easy to mistake this as pre-existing knowledge or as a realization that happened during the drive itself. “Then” can occasionally be useful for sentence flow, but keep the use of the word to a minimum.

“In order to”

You almost never need the phrase “in order to” to express a point. The only situation where it’s appropriate to use this phrase is when using “to” alone would create ambiguity or confusion.

I’m giving you the antidote in order to save you.

And after ten minutes of brainstorming for an example of a proper time to use “in order to,” I haven’t been able to come up with anything. Legitimate uses of “in order to” are just that few and far between.

“Very” and “Really”

Words are self-contained descriptors, and saying, “Think of tasty. Now think of more tasty” doesn’t help readers develop a better sense of the meal or person you’re describing.

Her breath was very cold chill as ice against my neck .

Mark Twain suggested that writers could “substitute ‘damn’ every time you’re inclined to write ‘very’; your editor will delete it and the writing will be just as it should be.” Another strategy is to find a more powerful version of the same idea or give concrete details. To say “It was very/really/damn hot” does little, but saying “It was scorching” helps. Even better?: “The air rippled like desert sky as my body crisped into a reddened, dried-out husk.”

“Is”

Is, am, are, was, or were—whatever form your “is” takes, it’s likely useless. When’s the last time you and your friends just “was’d” for a while? Have you ever said, “Hey, guys, I can’t—I’m busy am-ing”?

The “is” verbs are connecting terms that stand between your readers and the actual description. This is especially true when it comes to the “is” + “ing” verb pair. Any time you use “is,” you’re telling the reader that the subject is in a state of being. Using an “ing” verb tells the audience the verb is in process. By using “is verbing,” you’re telling your audience that the subject is in the state of being of being in the process of doing something.

Take this example:

I was sprinting sprinted toward the doorway.

If the description is actually about a state of being—”they are  angry,” “are evil,” or “are dead”—then is it up. But don’t gunk up your verbs with unnecessary is, am, or was-ing.

“Started”

Any action a person takes is started, continued, and finished. All three of these can be expressed by the root form of the verb. For example, “I jumped.” The reader who stops in frustration, saying, “But when did the jump start? When did it finish?” has problems well beyond the scope of the content they’re reading.

If you’ve been doing yoga for six years, you could reasonably say, “I started doing yoga six years ago.” For you, yoga is an ongoing action with a concrete starting point. But when describing action in a story, there are few circumstances where “start” is effective.

Let’s take this case and look at the potential fixes:

He started screaming.

Is it a single scream? Use “He screamed.” Are you telling us his screams will be background noise for a while? Rather than clueing us in unnecessarily, show us the series of screams first-hand. Do you want to introduce a changed state, such as escalating from loud speaking into screaming? Show us the decibels, the gruffness of voice, the way the air feels to the person he’s screaming at, and the hot dryness in the screamer’s throat as his volume crescendos.

“That”

“That” is a useful word for adding clarity, but like Bibles on the bedstands of seedy motel rooms, the word’s presence is often out of place.

When “that” is employed to add a description, you can almost always move the description to before the term and make a more powerful image.

Ireland was nothing but flowing green hills that flowed green.

In many other cases, “that” can simply be dropped or replaced with a more descriptive term.

I was drunk the night that your father and I met.

Many other uses of “that,” such as “I wish I wasn’t that ugly”, can be enhanced with more descriptive language.

“Like”

I’m not just saying that, like, you shouldn’t, like, talk like a valley girl (though that too). Here’s the problem: “Like” is used to show uncertainty. And you. Should. Not. Be. Uncertain.

Be bold. When making a comparison, use force. Use metaphor over simile. Don’t let yourself cop out by coming up with a halfway description.

My eyes rested on the gun for a sliver of a moment. I snapped forward, grabbed it, and it was like the chill metal flowed from the gun into my veins.

One of the 36 articles by the infamously fantastic Chuck Palahniuk dives into the issue of like in great detail. It’s well worth checking out.


As always, Orwell’s final rule applies: “Break any of these rules before saying anything barbarous.” There are instances where each of these words fills a valuable role. However, especially among inexperienced writers, these words are frequently molested and almost always gum up the works.

Apply these lessons immediately and consistently to empower your words. Then, with practice, you will suddenly realize that you are starting to naturally trim the text in order to create prose that is very powerful.

This is Blatant Advertising

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Colorful Tapestry of Words2

How do you feel about authors advertising their books any and everywhere they can? I am one of those people. I’m an author, and I try to take advantage of every opportunity I come across to tell someone about my books.

Even if I am an author, I get tired sometimes of seeing so many ads on Facebook and Twitter, which is certainly two-faced of me. I can’t have it both ways. There’s one side of me that wants to see things I can read about a fascinating subject not another “look at my book, see me.”
Since I’ve said how I feel, let me share the link to my latest book with you and also offer tips on how to possibly market a book. Here’s my link. Have a look and if you would like to do an Amazon review, I will send you one free for an honest review.  http://amzn.to/1Xogylz

Here are some book marketing tips taken from an article on Author Media by Caitlin Muir.
89+ Book Marketing Ideas That Will…
Increase your web presence:
Create a testimonial page on your website
Add the free My Book Progress plugin to your WordPress website to update your visitors about the status of your upcoming book.
Retweak the SEO on your site
Ask fans to post their reviews on your Facebook page
Ask fans to post their reviews on Amazon
Ask fans to post their reviews on Goodreads
Sign up for Twitter
Clean up your social footprint
Create an author FB page and use it instead of your profile
Sign up for Google Authorship
Offer bloggers advanced reading copies
Go on an online book tour
Create a book launch team
Host Q+A sessions on Google+
Create Facebook Friday videos
Register as an author on Amazon
Register as an author on Goodreads
Create a book trailer
Add the free My Book Table plugin to your WordPress website to boost book sales.
Create a hashtag for your next book
Build your fan base:
Start an FB campaign to increase your fans
Start a Google Campaign to increase traffic to your site
Start a controversial web series
Link up with other writers for your controversial web series
Start weekly Twitter chats with readers
Keyword your blog posts
Create a monthly newsletter
Create an affiliate program
Host-guest bloggers
Become a guest blogger
Create business cards with your web address on them and hand them out
Put your photo on your business card for stronger branding
Start commenting on other blogs (early and often)
Host regular author hangouts on Google+
Host regular author interviews on Google+
Record your Google+ hangouts and put them on YouTube
Get social media coaching
Cultivate Community:
Create an online community with a forum
Say thank you to readers with special incentives for being a fan
Ask your reading community to design merchandise for your store
Create a fan page for your main character (works well if they are in a series)
Ask fans to create their own book trailers and post them online
Offer core fans advanced copy of future books
Ask fans to post pictures of “character spottings.”
Offer “extra features” on your website
Use Twitter hashtags
Poll your readers and listen to what they say
Answer all your blog comments
Engage with your fans on FB
Ask your fans to post pictures of them reading your book
Make some extra money:
Repackage old blog posts and sell them as an e-book
Join an affiliate program
Speak on the core topic of your book
Become a content writer
Host paid webinars
Freelance with niche magazines
Sell ads on your website
Sell ads in your newsletter
Write a new ebook tailored to your fans
Mentor another writer
Become an Amazon Affiliate (and use MyBookTable)
Offer customizable ebooks for readers
Sell your book on your site, not just Amazon
Tweetables:
The @AuthorMedia crew just gave me 89 free book marketing ideas. Watch out the world! – click to tweet.
My sales should spike soon. I’m going to try out some of the book marketing suggestions from @AuthorMedia. – click to tweet.
89 Book Marketing Ideas That Will Change Your Life. Try one today! – click to tweet.
Have you tried any of these marketing tips from @AuthorMedia? They look great! – click to tweet.
Dang. I needed book marketing ideas, and I found 89 of them via @AuthorMedia. – click to tweet.
If you write books, you should look at this list ASAP. Unless you are my competitor. – click to tweet.
Need some book marketing ideas? One of these ideas should do the trick! – click to tweet.
Build your brand offline
Write a Press Release
Ask to be interviewed by your local paper
Ask to be interviewed by the paper your book is set in
Ask to be interviewed by the local radio host
Ask to be interviewed on the local morning show (read this article first)
Partner with a band that has the same cause as you
Go on a physical book tour
Start thinking local
Sell themed merchandise (Think “Team Edward” shirts)
Rent a billboard
Host a book release party
Link with an activity that supports your cause and sell your book there
Create a viral video about a scene from your book
Find a Place To Give a Book Reading:
Your local coffee shop
A hospital
A retirement community
A rehabilitation center
A local church
A locally owned bookstore
The library (try the five closest to your house)
The local community college
A school
Wherever the main setting of your book is
Google+
Videos you upload to Facebook
Goodreads
Discover where to donate your book (and make new fans):
Women’s shelters
VA hospitals
Homeless shelters
Children’s hospitals
Retirement homes
The five closest libraries to your house
The library in your hometown
Summer camp
Community libraries at coffee shops
The local community college library
The libraries in the town where the book was set in
BookCrossing.com
Local B&B’s
Local motels
Prisons
Church libraries
Rehab centers
Cruise ship libraries
Doctor’s offices
Community centers
Senior Centers
Become an expert:
Listen to the Novel Marketing Podcast.
Get active on LinkedIn
Write Op-Ed pieces on the core message of your story
Write freelance pieces on the core message of your story and pitch to niche publications
Give lectures on the core message of your story
Host webinars with other experts
Create a series of web-videos interviewing experts on the core message of your story
Make sure your author about me page is interesting and relevant
Create a Meetup group
Have any book marketing tips you’d like to add to the list? Leave them in the comment section.

Determining What to Write About

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One of the first and most important decisions for every writer is determining what to write about. Making this decision can feel overwhelming often because of long-held notions we have about what it means to be a writer. Many people believe that authors just have ideas that come to them or, worse yet, that authors are so intelligent that they are able to create something unique that has never been seen or thought of before.

In reality, neither scenario is entirely true. Most of the time, authors decide what to write about from examining their personal lives and interests or by examining the work of other authors and making parts of existing material into something new and different.

Writing about things you know and care about is important for several reasons. For one, it usually makes writing much easier: if you are writing from personal experiences, you can spend more energy on adding creative twists to a story that already exists.

Second, if you are writing about something you care about, you usually have a deeper sense of the subject and will have more information from which to write. Choosing topics or experiences that you care about will develop a sense of “you” which only you can create.

Here are some strategies for coming up with ideas for writing:

Make lists of topics or things that you are interested in—hobbies, issues, things, places

Draw a floor plan of your home and make a list of three memorable events that happened in each room

Make a list of problems that you have seen characters face in movies, TV shows, or books, and use one as the basis for your own story

Make a list of your most memorable experiences and determine which might be the basis for a piece of writing

Maintain a personal journal and collect thoughts and descriptions that might be used as the basis for a piece of writing

Think about “small moments” of life to expand and explore rather than creating large, involved stories Read and re-read the authors that you are fond of.

Look for places where you can pick up where they left off or think of how the story could be retold from a different character’s perspective

Take elements from an existing storyline from a book, movie, or play and work your own real-life or past experiences in to create a new story

Make a list of your favorite movies or books and look for patterns in the storylines or look for storylines that can be combined or changed

Read, read, read—all great authors are readers who constantly look for ideas from other authors For more information:

Developing Ideas for Writing (Prewriting): http://www.esc.edu/ESConline/Across_ESC/WritersComplex.nsf/3CC42A422514347A8525671D00 49F395/CE2B510E7D9975AE852569C3006ACCCC?OpenDocument

Originally published by NCTE (National Council Teachers of English) Date unknown

Practical Tips on Writing a Book from 23 Brilliant Authors

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We are always wanting to glean what other authors know about writing.  This blog by Steve Silberman gathers together authors and has them give suggestions on how to improve your writing and make your book great. I thought it was something worth sharing. Have a blessed day.  Shirley

***

I love books. My late father Donald, who taught Wordsworth and Melville to inner-city kids for decades, used to read Ulysses to me while he carried me on his shoulders. Perhaps it was inevitable that I grew up to be a writer. Now, after years of investigative reporting for Wired and other magazines, I’m finally writing a book of my own.

The subject of my book is autism, the variety of human cognitive styles, and the rise of the neurodiversity movement. The seed of the project was an article I wrote for Wired in 2001 called “The Geek Syndrome” about autism and Asperger syndrome in high-tech communities like Silicon Valley. I’m happy and humbled to say that it was an influential article, and I still get email about it from the families of kids on the spectrum and from autistic people themselves, though it was published more than a decade ago.

The science of developmental disorders has made significant advances in recent years, and some of the social issues that I raised in the piece — such as the contributions that people with atypical cognitive styles have made to the progress of science, technology, and culture — seem more relevant than ever. At the same time, the wave of kids diagnosed with Autism Spectrum Disorders in the ’90s is now coming of age, and their heroically devoted families are facing fear and uncertainty about the future as crucial government-funded services and support provided to families of special-needs children dry up. Meanwhile,neurodiversity advocates are challenging narrow definitions of “normal” cognition, and autistic people — even those who are unable to employ spoken language — are using assistive technology like the iPad to express themselves. There’s a lot of new ground to cover.

I’ve signed a contract with a wonderful publisher — a Penguin imprint called Avery Books — and a sharp and enthusiastic editor named Rachel Holtzman. One of the most thrilling moments of my life as a writer was walking into Penguin headquarters in Manhattan and seeing classic jackets for Jack Kerouac’s novels like The Dharma Bums framed on the wall. It was reading the exhilarating, compassionate, and perennially fresh poetry and prose of Kerouac, Allen Ginsberg, Gary Snyder and their friends that made me want to grow up to be a writer in the first place.

I’m not sentimental about old media vs. new media. Nothing will ever replace the sublime feeling of sanctuary created by the printed page, but I treasure the books on my Kindle too, particularly when I’m reading at 30,000 feet. What I love is words — storytelling, the flow of well-wrought sentences, the gradual unfolding of a long and thoughtful tale, the private communion with an author’s mind.

But now comes the hard part. It’s one thing to work up a 4000-word magazine feature and another to sit down and write a 100,000-word book. I’m acutely aware that I’ve been granted a precious opportunity to cast light on forgotten history and provide a platform for voices that are rarely heard. At the same time, I’m scared out of my wits that the two decades of journalism that have led up to this project have not prepared me to write a good book. I wake up at 3am staring into the darkness, wondering if I’ll have the skills, discipline, and inner resources to pull it off.

I’ve chosen to deal with my anxiety by tapping into the wisdom of the hive mind. I recently sent email to the authors in my social network and asked them, “What do you wish you’d known about the process of writing a book that you didn’t know before you did it?”

I’m delighted with the sheer range of practical advice that poured in. The writers in this group are as diverse as the volumes that line the shelves in my home office.  There are top science writers and journalists like Carl Zimmer, Jonah Lehrer, Deborah Blum, Paula Span, and David Shenk; prolific blogger Geoff Manaugh of the endlessly fascinating BLDGBLOG, which focuses on architecture and the future of urbanism; award-winning poet and essayist August Kleinzahler; a wise-beyond-his-years entrepreneur named Ben Casnocha; a Zen master named John Tarrant and an author of Buddhist bestsellers, Sylvia Boorstein; two-time Rock and Roll Hall of Fame inductee David Crosby of the Byrds and Crosby, Stills, Nash and Young; and two of the geniuses who helped launch 21st century digital culture and the spunky “maker” movement, Cory Doctorow and Mark Frauenfelder of BoingBoing. A more diverse group of writers, talking about the nuts and bolts of their craft, would be hard to find anywhere on the Web.

A few things became clear as soon as their replies came in. First of all, I’ll have to throttle back my use of Twitter and Facebook to get this writing done (and I may never rev up my idle Quora account after all.) Secondly, scheduling intervals of regular exercise and renewal amid the hours of writing will be essential. And thirdly, I’ll certainly be buying and downloading a software program calledScrivener, which is a powerful word processor specifically designed for writing books and keeping vast amounts of related data in good order.

Reading these tips has made the voice in my head that whispers I can do this a little louder when my eyelids snap open before dawn. I hope the advice here inspires the creation of many great books, not only the one I hope to write. I’m deeply grateful for the time and attention of the master writers assembled here.

Enjoy — and good luck with your own writing!

The Tangled Bank by Carl Zimmer

Carl Zimmer

Author of A Planet of Viruses, The Tangled Bank, and Brain Cuttings

  1. Do as much research as possible away from the Internet — with living people, in real places.
  2. Be ready to organize vast amounts of data. Use a wall, or software like Scrivener.
  3. Be ready to amputate entire chapters. It will be painful.

The Genius in All Of UsDavid Shenk
Author of The Forgetting and The Genius in All of Us

  1. Make it great, no matter how long it takes. There’s no such thing as too many drafts. There’s no such thing as too much time spent. As you well know, a great book can last forever. A great book can change a person’s life. A mediocre book is just commerce.
  2. Get feedback — oodles of it. Along the way, show pieces of your book to lots of people — different types of people. Ply them with wine and beg them for candor. Find out what’s missing, what’s being misinterpreted, what isn’t convincing, what’s falling flat. This doesn’t mean you take every suggestion or write the book by committee. But this process will allow to marry your necessarily-precious vision with how people will actually react. I find that invaluable.
  3. Let some of you come through. You’re obviously not writing a memoir here, but this book is still partly about you — the world you see, the way you think, the experiences you have with people. And trust me, readers are interested in who you are. So don’t be afraid to let bits and pieces of your personality and even life details seep into the text. It will breathe a lot of life into the book.

For the Win by Cory DoctorowCory Doctorow
Author of With a Little Help, For the Win, Makers, and Down and Out in the Magic Kingdom

  1. Write every day. Anything you do every day gets easier. If you’re insanely busy, make the amount that you write every day small (100 words? 250 words?) but do it every day.
  2. Write even when the mood isn’t right. You can’t tell if what you’re writing is good or bad while you’re writing it.
  3. Write when the book sucks and it isn’t going anywhere. Just keep writing. It doesn’t suck. Your conscious is having a panic attack because it doesn’t believe your subconscious knows what it’s doing.
  4. Stop in the middle of a sentence, leaving a rough edge for you to start from the next day — that way, you can write three or five words without being “creative” and before you know it, you’re writing.
  5. Write even when the world is chaotic. You don’t need a cigarette, silence, music, a comfortable chair, or inner peace to write. You just need ten minutes and a writing implement.

And Then There's This by Bill WasikBill Wasik
Author of And Then There’s This: How Stories Live and Die in Viral Culture

  1. The first tip is that readers expect books to be exhaustive on their subjects. That doesn’t mean they want the books to be long — it means that they expect that you will cover all the basic ground that needs to be covered to understand the subject, even if they know some of it already. This piece of advice may or may not be relevant to your subject. In my case, with a very idiosyncratic book on viral culture, it led to people asking me at readings why I hadn’t included an analysis of X or Y viral phenomenon in my book. “Because you already know about it,” the magazine guy in me always wanted to respond. But in the book world, people want to see you mention the stuff they already know, at least in passing (or to knock it down)– otherwise, how can it claim to be a book on the subject? It’s worth taking that point of view seriously.
  2. This is a basic piece of advice, but it can’t be overstated when you’re trying to go from magazine-length to book-length writing: hone your outline and then cling to it as a lifeline. You can adjust it in mid-stream, but don’t try to just write your way into a better structure: think about the right structure and then write to it. Your outline will get you through those periods when you can’t possibly imagining ever finishing the damn thing — at those times, your outline will let you see it as a sequence of manageable 1,000 word sections.

The BLDGBLOG Book by Geoff ManaughGeoff Manaugh
Author of The BLDGBLOG Book

  1. Don’t hold back on that fantasy site visit / phone call / interview / query / meeting that you have always wanted to do, lest it become too late to include the results in your book. Do it now! This book is your golden ticket.
  2. Don’t lose track of your notes and/or future ideas for inclusion by writing things down in multiple notebooks or on scattered pages of the same notebook; concentrate, aggregate, cohere, reread, and compress. Keep it all in one place (with back-ups). Obsessive-compulsive organizational habits are your bestfriend; telling insane and vaguely embarrassing stories later on, about how you used eight different colored markers, four highlighter types, and multiple versions of extra pages stapled into a vast mega-notebook that you re-read every night before bed – and that you also took digital photos of lest you lose the whole thing in a house fire – will be a lot more fun than explaining how you forgot to include certain things and your book sucked because you never got your shit together.
  3. Quick, tossed off, last minute additions, typed right before you submit the final manuscript, probably aren’t a good idea, no matter how funny or emotionally powerful you might feel they are at the time of impulsively writing them. Always allow time to come back and read something from a distance.
  4. And run all quirky one-liners that you hope to include in your author’s bio (do you “always enjoy a good latté”?) past a close friend; they don’t age well.

The Mad Professor by Mark FrauenfelderMark Frauenfelder
Author of The Mad Professor and Rule the Web

  1. Use Scrivener to write your book. Awesome organizing tool as well as word processor.
  2. If you have the feeling an interview isn’t yielding much, get off the phone as soon as you can. On the other hand, when you strike interview gold, keep it going as long as you can.
  3. Don’t forget to write the book that you want to read.

The Poisoner's Handbook by Deborah BlumDeborah Blum
Author of The Poisoner’s Handbook and Ghost Hunters

  1. here are a few things that i’ve learned or that people have told me along the way. i’ve written five books. the first two (monkey wars, sex on the brain) were issue books. the best advice i got when writing an issue book was to write the first chapter LAST.  this isn’t absolute, but it’s in the research and writing of later chapters that you often figure out what your primary points will be and how best to frame them.
  2. the best advice i got in writing narrative non-fiction was to get my hero in trouble and keep him there. this was with my first narrative book, love at goon park. my editor suggested that as the over all arc — how is harry harlow ever going to persuade the scientific community that love matters? — and within that to have him confront an obstacle in every chapter. i’m a little looser with that now, not an obstacle in EVERY chapter, but it’s still a great way to think about structure. for instance, in poisoner’s handbook, every chapter is a poison. so my heroes must confront arsenic in one chapter and thallium in another…
  3. i usually try to have a single sentence that describes the primary message of the book. this turns out to be really useful when your editor asks you for the one sentence the sales force can use to persuade book sellers to buy your book. but, again, it’s also a useful organizing principle. so with monkey wars, the primary sentence (not brilliant for sales, but still) was “animal research is really about us.” number one species on the planet, can do whatever we want to other species. and i used that to frame every chapter around a decision that a researcher was making in his use of non-human primates, from brain surgeries to testing on endangered species.
  4. i let my first draft suck. kind of the anne lamott advice on “shitty first drafts.” to me my first draft is just an attempt to start unfolding the flow and logic of the story. if i get stuck, i just put xxx in the draft (for figure this out later.) with one of my books (sex on the brain) i did this so often that i had literal nightmares about it, that people were coming up to me and asking me if i had adopted an avant garde writing style.
  5. i’m obsessive about the research. i organize and cross-list and file from the very beginning. i make notes of key points, issues, and themes. the amount of research one does for a proposal is very different from the amount of research one does for a whole book. so i keep track of all these key moments in a way that lets me recognize patterns that i didn’t see earlier. and also so that when i’m later actually writing, i know where to find everything. writers waste a lot of time looking for that study that they filed, well, somewhere.
  6. i recognize that today’s book author isn’t done even after the manuscript is accepted. publishers expect us to be part of the marketing of the book and the sooner that starts the better. i used to tell people that i wanted to be the j.d. salinger of science writing and just stay home and let the royalties wash over me. but that’s mostly in the moments when i’m just overwhelmed. the new public version of a science writer is actually pretty fascinating.

Sleeping It Off in Rapid City, by August KleinzahlerAugust Kleinzahler
Author of Sleeping It Off in Rapid City and Cutty, One Rock

  1. I find it helpful sometimes — and still to my surprise — trying to explain to someone what it is I’m trying to write about, usually someone bright but in a different intellectual zone, and not a writer. Or, likewise, in a letter or email to such a person.
  2. When my self-disgust reaches critical mass I seem to be ready to go.
  3. I tend to discover the structure, a structure, after diving in the deep end and swallowing water awhile, until I stop swallowing water, make my way to the surface and figure out how far it is toward shore or the side of the pool, and what mixture of treading water and the Australian crawl, given my limitations/aptitudes, might get me safely home.

My Start-Up Life by Ben CasnochaBen Casnocha
Entrepreneur and author of My Start-Up Life

  1. Shitty first drafts. Anne Lamott nailed it! But with books, it seems to be more like “shitty 20th drafts.” So shitty, for so long.
  2. Develop a very serious plan for dealing with internet distractions. I use an app called Self-Control on my Mac.
  3. Develop a very, very, very serious plan for dealing with internet distractions.

The Mindfulness Revolution by Barry BoyceBarry Boyce

Author/editor of The Mindfulness Revolution and In the Face of Fear

  1. You’re better off than you think, because you’ve done this before, just not in as large a format. Almost every technique and skill you’ve used to structure and tell a story at feature length scales to book length. So, let go of the excess anxiety about never having done this before.
  2. Planning. Planning. Planning. It’s a campaign. I used some project management tools in the end to put some order into the vastness. That’s the thing about the bigger scale. It requires more management to support the creativity. Cultivate a good relationship with your editor from the beginning. He/she is going to be your task master at some point. That’s going to go so much better if he/she is also your friend, colleague, supporter, and fan. The campaign of writing a book can get so lonely sometimes, you need a good attaboy just to remind yourself of why you’re doing it and that you’re not the crazy loser who needs to get out more.
  3. As Trungpa Rinpoche said (I paraphrase): enjoy refreshing activities from time to time. If you’re planning and scheduling well, you can find opportunities regularly to breathe more fresh air into your life and replenish yourself, because “the work fills the available space” is nowhere more true than on a book project. Watch out for self-indulgent and cheap substitutes for actually taking an honest to god break, of whatever duration.

The White Hand Society by Peter ConnersPeter Conners
Author of Growing Up Dead: The Hallucinated Confessions of a Teenage Deadhead and White Hand Society: The Psychedelic Partnership of Timothy Leary & Allen Ginsberg

  1. When I’m writing a book I only read other books that somehow inform my book. If it doesn’t serve my process — no matter how much I want to read it — I don’t. I suspect there are a lot of people who will give the opposite opinion (take a break from reading about your subject matter, etc.), but I’m not one of them. This is your time to be completely and justifiably obsessed. So go ahead — bask in the madness.
  2. Non-fiction shouldn’t mean poorly written. Writing is writing and art always counts. Make your book beautiful to read and you’re more likely to communicate your messages to your reader.
  3. Don’t focus on the promotional aspects of social media. Just share your passion for the subject matter as it filters through your writing process. The promotion aspect will be an organic extension of your passion.

Long Time Gone by David CrosbyDavid Crosby
Singer-songwriter, founding member of the Byrds and Crosby, Stills, Nash and Young, author of Long Time Gone and Since Then

  1. Cathartic effect.
  2. Love of the well-turned phrase.
  3. Set specific times to work.

When the Time Comes by Paula SpanPaula Span
Author of When the Time Comes

  1. You already know what you need to know to do this.  The fact is, my 60,000-plus-word book was pretty much like writing 8 to 10 long-form pieces.  I didn’t do it differently, in terms of research or writing or rewriting.  My existing skills were perfectly adequate to the task; yours will be too.  It took me 2.5 years but then, I was teaching and freelancing at the same time; had I focused solely on the book, it probably would’ve taken 18 months.  So you will make your deadline, even if your book is longer and more complex.
  2. Unhelpful, right?  But maybe not.  Bottom line, this is not some whole different sphere for which you are ill-prepared.  For better or worse, whether you use some nifty software to organize your material or you use a whole bunch of yellow legal pads and photocopies in hanging files (like me — so retro), this is familiar territory and you are an old hand.  So get to it.

Aspergirls by Rudy SimoneRudy Simone
Author of Aspergirls: Empowering Women with Asperger Syndrome andAsperger’s On the Job

  1. I had the easiest time of my life writing my three Asperger books. I just ran like Secretariat once I got going. But, I did learn that questionnaires make good research tools. I had three levels of questionnaires, each expanding on the one before it, so I didn’t have to individually interview each person. I did that by email or phone if and when it was warranted. By the time I wrote Aspergirls I had it streamlined: The questionnaires were posted on my site, the first one visible to the public so anyone could use it, then the 2nd and third were on hidden pages that I gave my participants the URL to. The data was compiled and I received email alerts whenever there was a new entry. So while I was researching certain elements of my book, the questionnaires and the people who used them were doing a lot of the legwork. Being that I’m fairly uneducated, I think I did a pretty good job with it.

Short by John SchwartzJohn Schwartz
Author of Short: Walking Tall When You’re Not Tall at All

  1. Advice from a Newsweek editor I worked with in the ’80s, Nancy Cooper. Roughly my age, but so much smarter and more worldly and sophisticated. I was worried about writing the opening story of the nation section. And she sent me a note that read: “You just start working and you keep working til it’s done. That’s all there is to it; no mystery.”

Happiness is an Inside Job by Sylvia BoorsteinSylvia Boorstein
Author of Happiness is An Inside Job and It’s Easier Than You Think

When I settle into writing, i.e. proposal signed, accepted, etc., I…

  1. Do not open email until 5PM on any weekday or other day when i expect to be writing much of the day.
  2. Do not read other people’s work on the same subject. That might be hard for you, since you are collecting research data, but I say very little about what other people have said or thought. They’ve already said or thought it.
  3. I am VERY selective about having other people read it as I go along other than my editor, and that only when I have enough written to feel secure that I have found my voice.
  4. When I do not like how what I’m writing is sounding, I quit. I leave the computer. I do something else, like cook soup. I “hear” what I am about to type before I type it and if it is not sounding like me naturally talking, I know i am not clear or balanced enough to go on.
  5. I do not write from the beginning to the end. I write in the order that particular parts take form in my mind and I enjoy mulling them over… I mull and mull and imagine I am explaining them to someone and then I write them down. I have the order in mind, so I write whatever part is bubbling energetically in my mind, print it out (always) and begin a stack on THE BOOK on a corner of my desk into which I can add pieces (in their proper order) as they get written and so I have a visible proof at all times that something is happening.
  6. I take the due date for the first draft EXTREMEly seriously., like everything depends on that day. it makes the project energetically alive for me, like a James Bond five-minutes-and-fifty-two-seconds until the whole world blows up movie and even if the draft is finished a week early I push the SEND button just after 12AM on the day it is due. Theatrical, I know, but I learned it from a friend of mine whom I admire as being a fine writer who prides himself on doing that.

Nameless Book by AnonymousAnonymous
Author of notable books on science and psychology

What I wish I didn’t know now that I didn’t know then:

  1. How hard writing a book would be  on my body — two major illnesses and two surgeries in two years, a health record unprecedented in my life, and unrepeated in the two years since. No idea what to do differently, other than maybe make sure I have good health insurance. (But you shoulda seen me revising my last draft as they wheeled me into the OR for an appendectomy.)
  2. How important and valuable the final reward would be. Not the money, but (in my case) the promised trip to a very special place. Wish I had put the photo of my destination on my screensaver long before I did, as it worked like an extra force of gravity pulling me to the end. The trip also gave me a coda to write into the book, just an extra added benefit.
  3. How inept publishers are at selling books, even books that, as in my case, they have a significant financial stake in and that they profess to love. Once they get rejected by Today and Terry Gross and once the Sunday Timespasses (or, as in my case, assigns a  review and then never runs it), they’ve exhausted their playbook. Solution: what you’re already doing, which is to build your brand among your intended audience.

Playing in the Band by David GansDavid Gans
Musician, radio producer, and author of Playing in the Band and Conversations with the Dead

  1. The most striking thing about my book processes was that no one at the publisher did any editing at all.  No fact checking, no line editing.

Lincoln's Melancholy by Josh ShenkJosh Shenk
Author of Lincoln’s Melancholy

  1. Get through a draft as quickly as possible. Hard to know the shape of the thing until you have a draft. Literally, when I wrote the last page of my first draft of Lincoln’s Melancholy I thought, Oh, shit, now I get the shape of this. But I had wasted years, literally years, writing and re-writing the first third to first half. The old writer’s rule applies: Have the courage to write badly.
  2. Find ways to break it into chunks and set concrete deadlines with friends/agent/editor. I’m sending my agent material every week now. The shit is super rough, but at least I’ve got *something* on page. Also consider a writer’s group. When I asked Bruce Feiler for this advice at the start ofLincoln’s Melancholy, he said: “emotional management.” I told him, yeah, but I really want practical advice, etc. etc., and he repeated the phrase. Writing a book is a crushingly lonely experience in ways that no one who hasn’t been through it can really imagine.
  3. What’s the idea/argument in a sentence or two? You shouldn’t have this necessarily at the start but will want to by the time the book is done.
  4. Apply to MacDowell, Yaddo, Blue Mountain Center, Headlands — a few other good residencies, including one in Cali I can’t remember now. Four to eight weeks of you, quiet, among other artists, with people feeding you on schedule can do wonders.

Bring Me the Rhinoceros by John TarrantJohn Tarrant
Author of Bring Me The Rhinoceros & Other Zen Koans That Will Save Your Life, and The Light Inside the Dark: Zen, Soul & the Spiritual Life

Here’s a triplet of things that may apply only to me.

  1. Ideas don’t come from anywhere identifiable, so I’ve come to trust that they will be given. This is along the lines of not whipping the donkey.
  2. The process of lining the book up, giving it a bedside manner, asking “Is this what it is about? But what is it really about?” was a plunge. I had to explain the work to myself in more and more elementary language. I came to enjoy doing this. It helped when I realized that the discovery process was part of the writing and I didn’t have to be through it already.
  3. There is always period when I wrestle alone with my own process and at the same time I like collaboration. So I’ve learned what kind of editing works for me. A good editor is an impersonal force who says things like, “You could ditch the first half of your first chapter and start with what comes next,” and immediately I know if the edit is true or not. So I learned to be confident about sharing my work when it is not fully formed, learned that the process is robust and will look after itself.

How We Decide by Jonah LehrerJonah Lehrer
Author of How We Decide and Proust Was a Neuroscientist

  1. My one piece of advice is to insist that your editor be brutal — there should be red pen on every page. At least in my experience, the book only gets decent during this phase, as all the darlings and digressions get killed. It’s such an important process, and yet too many editors are too meek (or overworked) and too many writers resist their edits. A good editor is a great thing.

The Panic Virus by Seth Mnookin
Seth Mnookin

Author of The Panic Virus and Feeding the Monster

  1. If you’re a Mac guy, I whole-heartedly, full-throatedly recommend using Scrivener. I think you can get a free 30-day trial, so it’s at least worth checking out. Especially with this last book, it totally saved me from having hundreds of (virtual) stacks of thousands of (virtual) scraps of paper.
  2. For me, it was vitally important that all non-book related reading be as mindless as possible. I binged on mysteries…Rex Stout and Donald Westlake/Richard Stark in particular.
  3. I tried, not always successfully, to start each day with some discrete goal I wanted to accomplish: write 200 words, or get through a certain amount of research, or conduct two interviews, or whatever. If I set out to spend a day “writing,” that would be so overwhelming I’d end up just farting around online all day instead of starting the climb the mountain.
  4. Finally: assume your book is going to completely tank commercially. That’ll help you remember that you’re not writing this for the purpose of writing a best-seller (at least I assume you’re not), but because it’s something that you care passionately about and excites you intellectually and because you hope to be able to share your thoughts and observations and conclusions with a group of people you respect and want to discourse with. Everything else is gravy. At the end of the day, what’s important is producing something you believe in…not producing something that’ll catch people’s eyes at B&N.

Superbug by Maryn McKenna

Maryn McKenna
Author of Superbug and Beating Back the Devil
  1. Find an organizational scheme for your notes and materials; keep up with it (if you are transcribing sound files or notebooks, don’t let yourself fall behind); and be faithful to it: Don’t obsess over an apparently better scheme that someone else has.  At some point during your work, someone will release what looks like a brilliant piece of software that will solve all your problems. Resist the urge to try it out, whatever it is, unless 1) it is endorsed by people whose working methods you already know to be like your own and 2) you know you can implement it quickly and easily without a lot of backfilling. Reworking organizational schemes is incredibly seductive and a massive timesuck. (I use DevonThink, OmniOutliner and Filemaker Pro. David Dobbs apparently has a quite different flow. We hope to do a workshop on this at NASW.)
  2. Don’t wait too long to start writing, especially if your book incorporates descriptive or narrative elements. Write at least a quick sketch of the sensory and emotional elements that stick with you as you come back from field reporting.
  3. You’re going to spend a lot of time in your head. Take care of your physical self too. Be just as committed to that as you are to getting your writing done every day. If you don’t care about your health, think your vanity — there’s an author video and a lot of public appearances in your future.
  4. Bonus tip: Be good to your spouse/partner and protect time for them. They’re in this with you, but unlike you, they didn’t choose it.