Tag Archives: Writing

Let Me Introduce

Standard

Hello, everyone. Today it’s my great pleasure to introduce to you a fellow writer from Rave Review Book Club, Gordon Bickerstaff. We are both members of this great club and today he is their “Spotlight Author”. It’s my privilege to be part of his Blog tour. He is introducing you to his main characters and providing you with a short synopsis of his book.  Enjoy

The Black Fox cover

Gavin Shawlens and Zoe Tampsin – DoomWatchers

 

Who is Gavin Shawlens?

Gavin Shawlens is an academic in his mid-thirties. He’s not a fitness freak but he keeps trim with occasional visits to the university judo club and jogging up the three flights of stairs to his top-floor flat. He has a thick mop of hair has a light straw colour in summer that darkens in winter. He is single, and has had on/off relationships, but he’s haunted by a previous relationship that ended badly.

He has a secret part-time job. Gavin has gained a great deal of experience over the past six years on a number of major investigations for the Lambeth Group. In fact, Gavin has a UK security clearance of Top Secret Level D, which means he has knowledge of the highest category of official state secrets. He knows where some of the nastiest Government skeletons are buried. He’d been present at the burial of two of them.

Who is Zoe Tampsin?

Zoe Tampsin, Senior Field Officer with the Security Service. On temporary secondment to the Lambeth Group. Based here in London,  Zoe is five-eight, slender, athletic-looking, intelligent and ambitious. The forty-three-year-old ex-army captain had joined the OTC at her university and went on to receive the coveted Sword of Honour at Sandhurst as the best officer cadet.

Captain Tampsin had served with the SAS in Bosnia and more recently on Special Forces operations for MI5 and MI6 at home and abroad. Her CO wrote about her – Zoe Tampsin protects her troop like a lioness protecting her cubs, powerful, determined, and completely ruthless.

Zoe had proved herself in combat, and she was accepted as combat hardened. She was powerful in dealing with the stress of imminent danger, and her concentration over long periods was second to none. Many times her troop had faced the white of the opposition’s eyes, and she had led them through hell and back.

Zoe had smashed the hardest glass ceiling, and showed the pencil generals the unique skill set that women have to offer, in the multi-dimensional fight against 21st century terrorism. She formed and led a special operations unit of women, W Troop. Still a small attachment, compared to the number of men in Special Forces, but against a strict background of no drop in standards, her select group of female troopers had proved themselves worthy of the badge.

Who are the Lambeth Group?

The Lambeth Group is a covert organisation formed when a group of twenty-six university vice-chancellors from elite universities met secretly with Home Office mandarins at the Imperial War Museum, Lambeth Road, London. After prolonged discussion, they agreed on the need for a doomwatch strategy to discover and manage research and technology disasters that can happen when top researchers push past the boundaries farther and faster than they should.

Working with CPNI (Centre for Protection of National Infrastructure) a branch of MI5, and the Home Office, the Lambeth Group had successfully prevented the most damaging university and private research disasters from becoming public knowledge.

The Black Fox

Synopsis

 Zoe Tampsin is resourceful, smart and Special Forces-trained, but she has been given an impossible mission. She has to protect scientist, Gavin Shawlens, from assassination by the CIA, and discover the secret trapped in Gavin’s mind  the CIA want destroyed.

As the pressure to find Shawlens escalates – the CIA send Zoe’s former mentor to track her down, and her fate seems sealed when he surrounds Zoe and Gavin with a ring of steel. With each hour that passes, the ring is tightened, and the window for discovering Gavin’s secret will shut.

Zoe is faced with a decision that goes against all of her survival instincts. If she is wrong – they both die. If she is right – she will discover the secret, and become the next target for assassination. Run for your life…

 

Buy Gordon Bickerstaff’s Books

Amazon-UK

Amazon-USA

Follow Gordon Bickerstaff here:

Website: http://goo.gl/2in8SX

Twitter handle: @ADPase

 

Six Easy Grammer and Format Tips

Standard

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

***

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

Standard

 

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

***edit

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.

Determining What to Write About

Standard

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

How to Start a Blog: A Step-by-Step Guide for Writers

Standard

Good Morning, I’ve been on vacation in North Carolina and had an absolutely wonderful time visiting with my girlfriend.  Since it rained the entire time I was there, we stayed in the house, laughed, talked of old times, old friends and ate lots of good food. A better vacation couldn’t have been found anywhere.

This article is from “The Write Life” originally published in July. I liked the fact it gives step by step instructions which will help Newbies as well as Old Timers. Enjoy and have a blessed day.  Shirley

blog

So you want to start a blog?

If you’re a writer, it makes perfect sense: You can use a blog to serve as your author platform, market your book or find new freelance writing clients.

But where do you begin? Though you’ve got the writing part down, the rest of the process can be overwhelming. Hosting, themes and all that other techy stuff can stand in your way for years.

Well, today is the day that ends. We’re here to help you navigate every step of starting a blog, from choosing your domain name to publishing your first post.

Here’s how to start a blog as a writer:

1. Pick a domain name

First things first: Where are people going to find you online? As a writer, you are your brand, so we recommend using some variation of your name. To check availability, simply visit Bluehost and click on “new domain.”

If none of the obvious options are available, try tacking a “writer” onto the end of your name, as in susanshainwriter.com. You could also use a “.net” or “.biz” domain, but keep in mind that most people automatically type in “.com” before thinking of other endings.

You can, of course, opt for a creative blog name, but remember that your interests and target audience may change as the years go by. When I started blogging in 2012, I focused solely on adventure travel and named my blog Travel Junkette. Since then, I’ve expanded my niche and recently switched to susanshain.com — because my name won’t change, no matter what I’m blogging about. I wish I’d started out using my name as the domain, and would advise you not to make the same mistake I did.

Once you’ve settled on your domain (or domains, if you’re like a lot of us writerpreneurs!), don’t wait to buy it. Even if you’re not ready to start a blog right now, you don’t want to risk losing the domain you want.

Before you actually click “purchase,” though, you might want to read the next step; we’re going to tell you how to get your domain name for free.

2. Purchase a hosting package

Now that you’ve picked out your domain name, it’s time to choose a web host. Your hosting company does all the technical magic to make sure your site actually appears when people type your newly anointed domain name into their browser. In other words, it’s pretty important.

We use MediaTemple to host this blog, but it’s typically better for blogs with lots of traffic, so you probably don’t need that if you’re just starting out. For a new blog, try Bluehost. It’s used by top bloggers around the world and is known for its customer service and reliability. Bluehost’s basic hosting plan costs $3.95 per month — and as a bonus, the company throws in your domain name for free when you sign up.

Be sure to put your purchase (and all the purchases listed in this post) on a business credit card and keep those receipts; they are investments in your business and are therefore tax deductible.

3. Install WordPress

We’re almost through with the techy stuff, we promise! You have several different choices for blogging platforms, but we like WordPress best. Not only is it totally free, but it’s easy to learn, offers a wide variety of themes, and has an online community and lots of plugins that make blogging accessible to everybody.

You can read comprehensive instructions for installing WordPress on your new blog here. Once you’ve completed that, you can officially log into your blog and start making it look pretty.

Still too techy for you? Try WordPress.com (as opposed to WordPress.org). It’s a cinch to set up, but won’t allow you as much control over your site’s design and functionality. If you choose to go this route, you can skip steps one and two of this post. Simply visit WordPress.com and click on “Create website.” Though the free default inserts wordpress.com into your domain (susanshain.wordpress.com), you can pay to use your own domain(susanshain.com).

4. Put up an “under construction” sign

While working on your blog’s appearance, you might want to put up an “under construction” or “coming soon” sign to greet visitors. You don’t want any potential clients or readers to Google your name and find a half-finished site. (And you may think you’re going to finish setting up your blog tomorrow — but we all know how badly writers procrastinate when there are no looming deadlines!)

To set up a little sign that says “under construction,” just download this plugin. You could even include a link to your Twitter or Facebook page so visitors have an alternate way of getting in touch with you. When you’re ready to share your blog with the world, simply deactivate and delete this plugin.

5. Choose a theme

Now we’re getting to the fun stuff! Your theme determines what your blog looks like, and you’ve got a lot of options to choose from. Yes, there’s a wide range of free themes, but if you’re serious about blogging, the customization and support offered by paid themes can’t be beat.

Here at The Write Life, we use Genesis, which is one of the most popular premium themes available. Another popular and flexible theme is Thesis. For my personal site, I use Elegant Themes, which has a wide selection of beautiful themes at a reasonable price. All of these themes come with unlimited support — essential when you’re starting a blog.

6. Create a header

If you truly want your blog to look professional, it’s worth getting a custom header. You can ask your favorite graphic designer or create something yourself with Canva.

My favorite option? Order one on Fiverr. I’ve had great luck getting headers and other graphics designed in this online marketplace, where thousands of people offer their services for $5 per gig.

7. Write your pages

Though you’re starting a blog and not a static website, you’ll still want a few pages that don’t change. (“Pages” are different from “posts,” which are the daily/weekly/monthly entries you publish on your blog.)

Here are some pages you may want to create:

About

The about page is frequently touted as one of the most-viewed pages on blogs, so don’t overlook it. Include a photo and brief bio, and explain why you’re blogging and why the reader should care. What makes you an expert? How can you help them?

Don’t be afraid to let your personality shine through — blogging is a personal affair!

Contact

You want your readers to be able to get in touch with you, right? Then you’ll need a contact page.

It doesn’t have to be anything fancy; just tell your readers how best to reach you. Avoid putting your full email address on here, as spambots could get ahold of it. To work around that, you can use a plugin, which we’ll link to below, or simply write something like “yourname AT yoursite DOT com.”

Portfolio

It’s your blog, so flaunt what you’ve got! Show your prospective clients and readers that you deserve their time and attention with examples of your past and present work. You can see examples of great writer portfolios here; personally, I love Sara Frandina’s.

Resources

Do you have a list of favorite writing tools? Or maybe books that have inspired you? Readers love resources pages, and for bloggers, they can also be a way to earn income from affiliate sales. Check out The Write Life’s resources page for inspiration.

Start here

You probably won’t need this at first, but a “start here” page is smart once you have a decent amount of content. It’s a great opportunity to express your mission and highlight your best work, so your readers can see the value of your blog without wading through months or years worth of posts.

Joanna Penn does a good job with hers, encouraging readers to download her ebook and then choose a topic that interests them.

Work with me

If you’re using your new blog to sell your writing services, this page is crucial. Be clear about how you can help people and how they can get in touch with you. You could even list packages of different services, like Sarah Von Bargen does on her site.

Once you’ve set up all your pages, make sure they’re easily accessible from the home page. If they’re not showing up, you may have to adjust your menus.

8. Install plugins

Plugins are great for everybody, but they’re especially useful for those of us who are less comfortable with the technical side of things but who’ve managed to set up a self-hosted blog. Think of them as apps for your blog; they’re free tools you can install to do a variety of things.

Though having lots of plugins can undermine the functionality and security of your blog, there are several we recommend everyone look into:

Better Click-to-Tweet: Encourage readers to share your content by including a click-to-tweet box within your posts; this plugin makes it easy.

Contact Form 7: If you want to avoid putting your email address on your contact page, use this contact form plugin, which is frequently updated and receives good reviews.

QuickieBar: Want to get readers to sign up for your free newsletter? Or want to announce the release of your latest book? This plugin allows you to create a banner for the top of your blog.

Mashshare: These “Mashable-style” share buttons are like the ones you see here on The Write Life. Another popular option is Digg Digg. It doesn’t matter which plugin you choose; it’s just essential you make social sharing easy for your readers.

WP Google Analytics: This plugin tracks the visitors to your site so you can see what people are interested in and how they’re finding you.

WP Super Cache: Another plugin that’s not sexy, but is important. Caching allows your blog to load faster — pleasing both your readers and Google.

Yoast SEO: This all-in-one SEO plugin helps you optimize your posts so you can get organic traffic from search engines.

9. Install widgets

If your blog has a sidebar, you might want to spruce it up with a few widgets, which are small boxes with different functions.

Here are some ideas:

About box

You’ve probably seen this on a lot of blogs; it’s a box in the upper right hand corner welcoming you to the site. Check out Jessica Lawlor’s blog for a simple — yet excellent — example.

Social media icons

Make it easy for your readers to follow you on social media by including links to your profiles in the sidebar. Here’s a basic tutorial for adding custom social media icons.

Popular posts

Once you’ve been blogging for a while, you might want to highlight your most popular posts in the sidebar, which you can do with a basic text widget. We do this here on The Write Life so you can find our most popular content quickly and easily.

10. Purchase backup software

Don’t overlook this important step just because you don’t have content yet! It’s better to install this software early than to start blogging and not remember until it’s too late.

Free options exist, but I’ve never had good luck with them — and for something as important as my entire blog, I don’t mind paying a little extra. (It’s a business write-off, remember?!) Popular backup options include VaultPress,BackupBuddy and blogVault.

11. Start your email list

I know, I know — you haven’t even started blogging and I already want you to build an email list. Trust me; you’ll be so glad you did.

Alexis Grant, founder of The Write Life, agrees with me. “If I could go back and do one thing differently for my business, it would be starting a newsletterearlier,” she writes. “My email list is THAT important for my business, bringing traffic to my website, buys of my products and opportunities I never could’ve expected.”

Even if you don’t have anything to send, just start collecting email addresses. The best way to entice people to sign up is by offering a free ebook or resource. For great examples, check out The Write Life’s How to Land Your First Paying Client or Grant’s social media strategy checklist.

Our favorite email newsletter platform is Mailchimp. It’s intuitive, fun and free for up to 2,000 subscribers. There are lots of other tools you could choose, though; here are a few more options for building your email list.

Once you’ve created your list, entice your readers to subscribe by adding a subscription box to your sidebar, and maybe even installing a plugin likePopupAlly.

12. Write!

If you really want to start a blog, you’re going to need to… start blogging.

We recommend creating an editorial calendar — even if it’s just you blogging. It doesn’t have to be fancy; it can even be scribbled out in a notebook.

What’s important is that you plan your posts in advance, so you can keep track of your ideas and stick to a schedule. It’s also a chance to assess and tweak your content strategy. What do you want to write about? How will you draw the readers in?

Don’t forget you’re writing for the web, so your style should be different than if you were writing for print. Keep your tone conversational, use “you” phrases to speak to the reader and break up text with bullet points and sub-headers. Keep SEO in mind, but don’t make it the focus of your writing.

13. Promote, promote, promote

You’re almost there! Now that you’ve started writing, it’s time to get readers. And I hate to be the bearer of bad news, but for many writers, this is one of the most surprisingly time-consuming aspects of blogging. Though it’d be nice if we could just write (that’s what we love to do, right?), it’s nicer to have people actually reading your work.

One of the best ways to attract new readers is guest blogging on more popular blogs. To help you out, here are seven writing blogs that want your guest posts, plus seven more. (And don’t forget about guest posting for TWL!)

It’s also essential to interact with other bloggers. Share their content with your community, comment on their posts and support them when and where you can. Hopefully, they’ll return the favor!

Social media is another great way to get more traffic to your new blog. In addition to sharing your posts and networking with fellow bloggers, make sure you’re constantly trying to grow your author following on social media.

14. Get help if you need it

If you feel stuck at any point, don’t be afraid to invest in a course or ebook, like these ones:

Sometimes a little outside help is all the boost you need.

Other than that, creating a successful writing blog is about hard work and consistency. Keep posting helpful and engaging content, optimizing it for SEO and sharing it with your networks — and you’ll soon see your new blog start to blossom.

Congratulations, you’ve now officially started a blog as a writer. Guess it’s time to get writing!

Do you want to start a blog? What stood in your way until now?

Susan Shane

The 5 C’s of Writing a Great Thriller Novel

Standard

Writing Project

This article by James Scott Bell was first published in the Writer’s Digest. I read it this morning on Books Go Social Authors Group ( https://www.facebook.com/groups/booksgosocialauthors/?fref=nf ) and thought it was worth sharing.  Even if were not writing a thriller we may want to add a touch into whatever we’re writing.  Enjoy.   Shirley

Remember when Tommy Lee Jones holds up the empty shackles in The Fugitive and says, “You know, we’re always fascinated when we find leg irons with no legs in ’em”? It makes me think of readers who pick up thrillers and find no thrills in them. Or at least not as many as there could be.

I’m not just talking about plot here. It’s possible to have guns and bombs and hit men and terrorists and black helicopters and still not have a novel that grips the reader in the gut.

For a healthy, fully functioning thriller, try some literary vitamin C. Dose your book with these five Cs and it will stand strong, chest out, ready to give your reader a run for the money.

  1. Complex Characterizations

The first place to fortify a thriller is its cast of characters. A critical mistake made here can undermine even the best story concept.

Is your protagonist all good? That’s boring. Instead, the thriller hero needs to struggle with issues inside as well as outside. She’s got to be a carrier of flaws as well as virtues. These roiling conflicts make her survival an open question.

When we first meet Detective Carol Starkey in Robert Crais’ Demolition Angel, she’s flicking her cigarette ash on the floor of a therapist’s office, “pissed off” because it’s been three years and her demons are still alive and well. Quite an introduction, especially for someone on the LAPD bomb detail. We know she has a short fuse. And we want to watch to see if it goes off.

Brainstorm a list of at least 10 inner demons your hero has to fight. Ten. Get creative. Then choose the best one. Work that demon into your hero’s backstory, and show how it is affecting him in the present—and could hinder him even further in the future. Give him actions that demonstrate the flaw.

Move on to the rest of your cast. Avoid the “stock character” trap, which can be especially perilous in this genre—e.g., the cold, buttoned-down FBI agent; the police detective with a drinking problem. Here’s a good habit: Reject the first image you come up with when creating a character. Entertain several possibilities, always looking for a fresh take.

Then, give each character a point of potential conflict with your hero as well as with the other characters—especially those who are allies. Look for ways friends can become enemies or betrayers. Short of that, create more arguments.

To help you add complexity, make a character grid like this:

Mary                        Steve                  Cody                     Brenda                Julio

Mary

x

Steve                            x

Cody                                               x

Brenda                                                              x

Julio                                                                                   x

Now, fill in the blank boxes with possible relationships, secrets and areas of conflict. For example:

Mary     Steve

Mary

Hates him because he abused her sister

Steve     Knows that Mary had a child by Julio

If possible connections are eluding you, try running this exercise for each of your main characters: The police come to the character’s residence with a search warrant. In his closet is something he does not want anyone to find, ever.

What is it?

What does this reveal about the inner life of the character? Use the secrets and passions you discover to add another point of conflict within the cast.

Standout thrillers need complexity and webs of conflict, so that every page hums with tension.

  1. Confrontation

I call the main action of a novel the confrontation. This is where the hero and antagonist battle over the high stakes a thriller demands.

When it comes to the antagonist, writers can easily make the opposite of the “all-good protagonist” mistake: They make their bad guy all bad. Worse, they make him all bad because he’s crazy.

More interesting confrontations come from a villain who is justified in what he does.

You mean, in doing evil things?

Yes, that’s exactly what I mean—in his own mind, that is. How much more chilling is the bad guy who has a strong argument for his actions, or who even engenders a bit of sympathy? The crosscurrents of emotion this will create in your readers will deepen your thriller in ways that virtually no other technique can accomplish. The trick is not to overdo it—if you stack the deck against your villain, readers will feel manipulated.

Start by giving your antagonist just as rich a backstory as your hero. What hopes and dreams did he have? How were they dashed? What life-altering hurt did he suffer? Who betrayed him? How did all of this affect him over the course of his life?

Write out a closing argument for him. If he were in court, arguing to a jury about why he did the things he did in the novel, what would he say? Make it as persuasive as possible:

“Ladies and gentlemen of the jury, my name is Hannibal Lecter. You’ve heard a lot of lurid tales about me from the prosecutor. Now you will hear my side of the story. You will hear about a world that is better off without some people being in it. And you will hear about the conditions I endured inside the horror of a place called the Baltimore State Hospital for the Criminally Insane …”

It can feel a bit disturbing to try to understand someone you might hate in real life. Good. You are a writer. You go where angels fear to tread.

Now take all of that material and use it to strengthen the antagonist’s position in the story. A stronger confrontation can only result.

  1. Careening

There’s nothing like a stunning twist or shock to keep readers flipping, clicking or swiping pages. Part of the fun for readers is thinking a story is going one way, and getting taken completely by surprise.

Harlan Coben is one of the reigning kings of the art of surprise. “I’ve rarely met a twist I didn’t like,” he has said. His method, if it can be called that, is to write himself “into a lot of corners” and see how things work out.

That’s one way to go. Forcing your writer’s mind to deal with conundrums is a great practice.

But there is another way. Pause after every scene and ask yourself: “What would a reader expect to happen next?” Create a list of at least three directions the story might take.

Then discard those three and do something different. I call this unanticipation.

Another method is the old Raymond Chandler advice: When things slow down, bring in a man with a gun. It doesn’t have to be an actual man with an actual gun, of course. It can be anything that bursts into a scene and shakes things up. Here’s the key: Get your imagination to give you the surprise without justification.

Make a quick list of at least 10 things that just pop into your mind. For example:

  1. A woman runs in screaming.
  2. The lights go out.
  3. A car crashes through the wall.
  4. Heart attack.
  5. SWAT team outside.
  6. Marching band outside.
  7. TV announcer mentions character’s name.
  8. A baby cries (what baby?).
  9. Blood drips down the wall.
  10. Justin Bieber comes in with a gun.

Some things on your list will seem silly. That’s OK. Don’t judge. Look back and find the most original item, and only then find a reason for it. In this case, No. 8 creates the most interest for me. I have no idea where that came from or what it means. But I can make it mean something.

And so can you.

  1. Coronary

The best thrillers stab the heart, throughout. They do it by getting readers to experience the emotions of the scenes.

How can you do that? First, by experiencing them yourself. Sense memory is a technique used by many serious actors. Here’s how it works: You concentrate on recalling an emotional moment in your life, and recreate each of the senses in your memory (sight, smell, touch, sound, etc.) until you begin to feel the emotion again. And you will. The actor transfers that to her role; the writer, to the page.

When I was getting to the heart of one of my own thrillers-in-progress, a story of two brothers, I needed to feel what the younger one was experiencing when the bad guys came. I recalled a time when I was 6 or 7, and some bullies were holding me hostage on a hill. Terrified, I finally made a break for home and sobbed to my big brother about what had happened. He left me at the house.

I never saw those bullies in our neighborhood again.

When I wrote the scenes with the younger brother, I focused on feeling those moments again, and transferred those emotions to the page.

They’re going to kill Chuck and they’re going to do the same thing to me. That’s why they have me tied up and they put another thing in my mouth and they won’t let me talk. … They hit me. I’m in the back of some truck. They’re taking me somewhere. I hope they take me where Chuck is. If they do anything to Chuck I will bite them. I will do anything I can to hurt them. Maybe I’m going to die but I will not die until I hurt them because of what they’re going to do to Chuck.

Another way to tap into your character’s heartbeat is the run-on sentence. Interview the character at the height of an emotion. Write down his reaction for at least 200 words without using a period. Then explore that text to find gems of emotional description. You might actually use some of it, as Horace McCoy did in his 1938 noir thriller, I Should Have Stayed Home:

All Dorothy’s fault, I thought, cursing her in my mind with all the dirty words I could think of, all the filthy ones I could remember the kids in my old gang used to yell at white women as they passed through the neighborhood on their way to work in the whore houses, these are what you are, Dorothy, turning off Vine on to the boulevard, feeling awful and alone, even worse than that time my dog was killed by the Dixie Flyer, but telling myself in a very faint voice that even like this I was better off than the fellows I grew up with back in Georgia who were married and had kids and regular jobs and regular salaries and were doing the same old thing in the same old way and would go on doing it forever.

  1. Communication

The original storytellers spun thrillers. When heroes went out into the dark world to confront monsters and demons and great beasts, the tribe vicariously lived the tale. But there was something more—they learned how to fight, act courageously and survive.

The first thrillers carried a message and helped bring a local community together.

Readers still seek that kind of story. So you ought to spend some time asking yourself what your thriller is really about. Does it offer hope for justice? Does it end with justice denied?

In short, what will the reader take away from your book?

Many aspiring thriller writers, perhaps seeing the genre as action-driven, avoid thinking about theme (or meaning, or premise). They prefer to let the characters duke it out, and leave it at that. There’s nothing wrong with this approach, as long as you realize that you will be saying something. Why not be intentional about it?

Here’s an exercise I call “The Dickens” (named for Charles and his time-traveling story A Christmas Carol): Go forward in time 20 years after your story ends. Your lead character is now 20 years older and has had time to reflect on all that happened in the story you told. You’re now a reporter, and you track down the character and ask, “Looking back at everything that happened to you, why do you think you had to go through that? What life lesson did you learn that you can pass on to the rest of us?”

Let the character answer in a free-form way, for as long as possible, until you sense that it’s right.

Now use all your skills to demonstrate that lesson at the end of the story itself, without necessarily using words. Give us Clarice Starling sleeping at last, the lambs of her nightmares silenced. Or Harry Bosch in Lost Light, holding for the first time the hands of the daughter he never knew he had.

Those are the moments that will take your thriller from entertaining to unforgettable.

Here’s to the health of your thrillers.

—By James Scott Bell

Fleshing Out a Story

Standard

              Good day everyone, I want to share an article that I found that explains fleshing out your story in great detail.  I have always had problems due to the fact I am a bare bones writer.     I’ve never had the ability to sit down and write a story without an editor or another knowledgeable person telling me it needs to be fleshed out.  I wasn’t even sure what that meant.  I write like “The cat climbed the tree.” Fleshing out, to my understanding would be like “The white cat climbed the tree with the purpose of catching a bird.”

I had a English teacher by the name of Mr. Collier. He walked into class one day and set a coke bottle up on the chalk ledge of the chalk board.  He then proceeded to tell the class to write three pages on describing that coke bottle.  How can anyone use three pages to describe a Coke bottle. You know, some students got an A on that assignment.   Needless to say I wan’t one of them. The best I can recall, I failed.

I hope this article helps you as much as it did me.  Have a blessed day.   Shirley

                                                       How To Flesh Out a Story Without Padding

by Marg McAlister

You’ve finally finished the first draft – celebration time!

Or is it?

When you read it through, you realise with a sinking feeling that it seems a bit… well, skimpy. And maybe it’s a tad short.

There’s no getting around it. You have to concede that your story needs a bit more flesh on its bones. But how can you make sure that you add substance, rather than just padding? How DO you flesh out a story?

Some Signs of Padding

If a story is padded, it is packed with inconsequential detail that makes the story longer, but doesn’t enhance it in any way. Here are some signs of padding: 

  • Dialogue that meanders and doesn’t move the story forward.
  • Too much description (flowery or technical).
  • Too much interior monologue. (The viewpoint character ponders too much and for too long.)
  • Extra ‘walk on’ characters who just bloat the cast without adding value to the plot.
  • Grandstanding. (The author is obviously using the story as a soapbox to espouse a pet cause or to express feelings about an issue.)
  • Inconsequential ‘problems’ for the characters to solve. (The hurdles put in the characters’ way are perceived by the reader to be annoying side-tracks rather than genuine sources of conflict.)
  • Inefficient transitions. (The author takes unnecessary pages to move the characters from one place or time to another.)
  • A delayed ending / unnecessary explanations. (The story should have been over in Chapter 29, but the author has added another five chapters to ‘make it the right length’. Sometimes this is in the form of tedious explanations about why characters did things and how they outsmarted people. This should have been obvious from the action in the story.)

How to Flesh Out a Story

If the above list shows you signs of a story that’s padded, rather than well-rounded, then what can you do to fix it? What are some good ways of adding depth and texture?

First, you have to decide what your specific problem is. Some writers have problems with their stories because they are ‘bare bones’ writers: they have difficulty adding emotional punch, exploring their characters’ thoughts, and bringing people and places to life with carefully chosen descriptive phrases. Their stories are all action.

Other writers can handle all of these things, but always seem to end up with a story that’s too short. They know it needs expanding, but how? (Sometimes their story is novella length – say, 30,000 words. Too long to be a short story; too short to be a novel.)

Let’s look at each of these in turn.

1. If your story is too short…

(a) Add a new plot twist. (This brings with it more problems and a new level of complexity to the main story).

(b) Add a new sub-plot. (This should be a secondary issue that CAN be removed from the main story without affecting its flow or the outcome of the story. However, it must add depth to at least one of your story people. It might explain a character flaw, or distract the main character from seeing something obvious, or generally make his/her life more complicated in some way.)

(c) Add a new character (A SIGNIFICANT character, whose life is interwoven with the main character’s life – not just a caricature whose job is simply to take up a few more pages and add extra lines of dialogue!)

(c) Add a new dimension to your main character – a secret in his/her past; a secret hobby or interest that for some reason needs to be hidden from others. This may or may not be related to a new plot twist or sub-plot.

2. If your story is too bare-bones…

(a) Identify what you are NOT doing that you SHOULD be doing. Explore this by reading the work of other authors. Identify writing that seems (to you) to work well, or to be something you’d aspire to. Then write out several pages of the published book by hand, or type it into the computer. Get a ‘feel’ for the way sentences flow and the way words are used. Then take an excerpt from your own work and try to replicate the technique.

(b) Look at the way you describe people, events, and places. You’re quite likely to find that you are too economical with words, and that you haven’t chosen words or phrases that evoke what you want. Rather, you settle for something that easily comes to mind, then move on with the action of the story.

Take the colour RED.

What is the red of embarrassment?
What is the red of sunset?
What is the red of a fire?
What is the red of plush velvet curtains?
What is the red of a fine wine?
What is the red of blood?
What is the red of a stop sign?

Find pictures of all of these things, if you can (do a search via Google images). Now look at the range of tones in ‘red’. What are all these shades actually called? Can you think of a creative colour name that will help readers to see exactly what you can see?

In my copy of ‘Words That Sell’, I can find these:

rose, burgundy, ruby, crimson, scarlet, vermilion, russet, auburn, copper.

Then I typed ‘Words to Describe Red’ in to a search engine. On WikiAnswers.com I found these:

Scarlet, vermilion, crimson, ruby, cherry, cerise, cardinal, carmine, wine, blood-red, coral, cochineal, rose; brick-red, maroon, reddish, rusty, cinnamon, damask, vermeil, sanguine.

No doubt a thesaurus would turn up even more.

But… don’t just think of colour names. When you look at a ‘red’ object, start using your other senses.

What is the smell of red wine?
What is the sound of a fire (or fire engine?)
What is the texture of red velvet curtains?
What is the taste of blood?

Already, you can see how your bare-bones writing might start to develop depth and texture. (If you do nothing else, start thinking in terms of the five senses. That alone will give your story more emotional punch and help the reader to picture the scene.) Your special challenge is to use this sensory detail in a well-turned phrase that will help the reader to experience your character’s life. The trap you can fall into is to write too much boring description.

Closely tied to using the five senses – for obvious reasons – is the task of getting viewpoint right. A lot of writers produce bare-bones narrative because they can’t get into the mind of the main character in the scene. They ‘tell’ the reader everything, moving along at a rapid clip, instead of playing out the scene and letting the reader become part of it.

In the end, being able to flesh out a story means that you need to develop more mastery of your craft. It will involve either adding more pages (working on plot and characters) or adding more depth (working on viewpoint and emotional punch). You should be constantly building your skills and adding to your writer’s toolkit.

Writers who work at their craft are the ones who ultimately succeed.

Proofreading A Dying Art

Standard

This is a funny that I originally posted about three years ago.  The topic isn’t funny but the results certainly are, at least in this case. I hope you enjoy the read.  Shirley

Proofreading is a Dying Art these days!

 

Man Kills Self Before Shooting Wife and Daughter

This one I caught in the Tribune the other day and called the Editorial Room and asked who wrote this.  It took two or three readings before the editor realized that what he was reading was impossible!!!  They put in a correction the next day.

 

I just couldn’t help but send this along. Too funny.

Something Went Wrong in Jet Crash, Expert Says

Police Begin Campaign to Run Down Jaywalkers

Panda Mating Fails; Veterinarian Takes Over

What a guy!

Miners Refuse to Work after Death

Juvenile Court to Try Shooting Defendant

War Dims Hope for Peace

If Strike Isn’t Settled Quickly, It May Last a While

Cold Wave Linked to Temperatures

Enfield ( London ) Couple Slain; Police Suspect Homicide

Red Tape Holds Up New Bridges

Man Up for Battery Struck by Lightning

New Study of Obesity Looks for Larger Test Group

Astronaut Takes Blame for Gas in Spacecraft

Kids Make Nutritious Snacks

Local  High School Dropouts Cut in Half

Hospitals are Sued by 7 Foot Doctors

Boy, are they tall!

And the winner is….

Typhoon Rips Through Cemetery; Hundreds Dead

 

Now that you’ve smiled at least once, it’s your turn to spread the stupidity. We all need a good laugh, at least once a day!

 

 

Creating Your Protagonist

Standard

Writer2From story to story, from novel to novel, protagonists vary widely in psychological make-up, goals and dreams, in the types of conflicts they face and in the way they resolve these conflicts.  Among all these differences, compelling characters may have some common qualities as well.

Catherine Ryan Hyde, author of Pay It Forward and 24 other novels, believes compelling protagonists share two chief traits.  “I think he or she needs to be someone with a strong will to move through adversity, and someone readers can relate to,” she says, adding that relatable characters also require vulnerability. “We’re all vulnerable on the inside, so our hearts go out to anyone enduring struggles we understand.”

Authors are often told that readers must be able to root for their characters, yet Hyde believes that protagonists don’t necessarily have to be likable or sympathetic.  They do need to be human, or readers won’t be able to relate to them.  To accomplish that, says Hyde, you have to get inside your character’s head, and thats when the “humanity will begin to shine through.”

Here’s how Ishmael Reed gets inside of Paul Blessings, a character in his 10th novel, Juice!

I’m a survivor all right.  After generations of ancestors working in the fields, factories, cleaning homes and offices, my generation had a chance to go to school, read books, attend plays, and do desk work just like W.E. B. wanted it.  Like an old time Talented Tenther, I even had a season ticket to the opera. Only falling asleep once.  During Wagners’s Die Meistersinger, I think it was the droning, lumbering trombone score that did it.  Besides, like millions of my contemporaries, I’m fond of gazing and staring.  This “sedentary” lifestyle got me in trouble with glucose, which one geneticist has said we should avoid more than the snakes we were originally programmed to fear.  A bakery display of cake, muffins, and cookies is like a nest of cobras to me.  They should invent a candy bar for diabetics called the Grim Reaper.  How did I know that sugar had a dark side.

Blessings comes fully alive for readers with his open, frank self-revelation: regarding his roots, his generation’s opportunities, his drifting off during the Wagner opera, his sedentary style and his health crisis.  Wryly, Reed situates diabetes in a framework that surprises us by an utterly bizarre comparison: snakes and sugar.  We want to learn more about this intriguing character.

Of course, it’s one thing to know what a compelling protagonist and still another to create one.  Should you begin with notes for a fully fleshed out character, or should you discover your protagonist as you write.  Virgil Suarez, author of several novels and short story collection, plans out his protagonist in advance of writing.  “I love to create an entire biography and history for a character,” he says, even though only 10 percent of what I imagine about a character actually makes it into the story or chapter.”

While Suarez does a lot of initial planning, much of his characterization happens as he writes.  Intutive discovery of character may be key to solid character development. Instead of engineering or controlling characters, let their own voices take action. “I’m on the lookout for a fictinal person with a good story to tell me,” says Hyde.  “After I make that connection, it feels more like a process of sitting back and listening.”  This act of listening worked well fro Grissom, who says her two first-person narrators spoke clearly to her. “I wrote down what they were saying.” She had to edit later, but through attentive listening, she came to know her characters well.

Excerpt from Returning To The Elements by Jack Smith

Leaving The Joy Out of Writing

Standard

dog coutureWriting is not always fun.  There are times when it’s downright taxing.  Various authors have compared the process to cutting veins and bleeding onto the page.  Certainly everyone has had the feeling of being discouraged, of thinking that the words are flappy, the sentiments trite, the whole thing a complete waste of time.  Many writers get so stuck in the morass that they can’t get our, and so they write word after every begrudging word with any joy at all.

Often this happens when a writer gets stuck on one particular story.  I have often seen it happen that a writer will carry around a story for a decade.  He will work on nothing else.  He is going to finish it if it kills him.  He submits the same story over and over and over again to be critiqued.  Although I suggest politely that he move on and write something else he can’t.  He has to tell this story. But now he hates it, and quite honestly, I hate it.  I’ve critiqued the character, the plot, and the dialogue.

I suspect this is even more likely to happen to novelists than to short-story writers, because we’re more likely to put big chunks of time into a novel.  Certainly it’s harder to walk away from something you’ve spent four years working on.  That was how long I worked on my novel, Courting Disaster.  It was the story of a woman who gets engaged 17 times and then falls in love with a man named Chuck Jones.  My novel was a finalist for a number of prestigious literary awards, got a lot of agent and editorial attention, but after four years of writing, rewriting and submitting, no one wanted it.  I was depressed, to put it mildly I was also discouraged at the prospect of having to write a whole new book.

But I did.  I wrote a book about a woman who teaches a fiction class, and I began to feel something I hadn’t felt n a while: excitement.  At one point, as I was trying to figure out who the students were in the writing class, I realized that my old friend Chuck Jones, would be perfect.  I had been obsessed by this character, and I was delighted to move him over to my new novel.  The Fiction Class was, in fact, published by Plume, a division of Penguin.  Often when I’m at book clubs, people will come up to me and tell me how much they like Chuck jones, and I always feel like that’s a tribute to the beleaguered part of me that struggled so hard to get a foothold in this business.

Don’t be afraid to start something new, if this is what you need to keep going.  Start a new story.  Take what you’ve learned and apply it somewhere else. But don’t give up the joy that brought you into this insane profession in the first place.

<div style=”font-size: 8px;”>Original by Susan Breen</div>