It's been a busy week for me: meeting new people, explaining that I'm a writer, trying to answer their questions when they ask what I write.
Sure, it's easy enough to tell someone about your current project, but if you're like me and you write in a variety of genres (novels, short stories, poetry, nonfiction) and also for a variety of readers (children, teens, adults), chances are the questions get deeper, especially when you're talking to a non-writer.
So how do you explain to others exactly what you write without going into a twenty minute long explanation of all you can do?
I've found a simple way to do just that. Now, it won't stop questions from the most determined person, but it seems to be an alright explanation for most people.
Why We Write:
We write to describe something new and unusual in a simple and attainable way. Or, to describe something simple and commonplace in a new and unusual way.
What exactly does this mean?
It's easiest to explain with poems. Have you ever written or read a beautiful poem about washing the dishes or dusting the TV set that made you in awe of how someone could describe something so everyday in a beautiful way that made you never look at dishes or dusting the same way? I have. That's describing something commonplace in a new way. And it's definitely needed.
On the flip side, there are situations that are unique to a subset of our population that not all of us experience in our lives. Genre fiction, like fantasy, sci-fi, and mystery are great examples of this. Fantasy writers have to introduce you to the characters of their world and the rules of their setting. This is something none of us have ever experienced before, since the author is setting up the world from scratch. However, they must do their writing in a way that makes even the most outlandish idea possible for readers to understand. In that way, they explain something new and unusual in a simple way so we don't get lost. And it's definitely needed.
So, the next time you find yourself, drink in hand, speaking with someone about what you do, feel free to use this explanation to help people understand your drive to write.
[Special Note: I'm not sure if this idea came from a famous writing quote or from a previous professor of mine. However, if you ever find the origination of this idea out there on the internet, link me in. I'm sure whomever described it first did a better job than I, and I'd love to see that!]
Wednesday, March 30, 2016
Tuesday, March 22, 2016
Grabbing Readers by the Throat
I finished writing a new novel earlier this month. After letting it sit a week or so, I started rereading it, revising, and sending preliminary drafts out for critique to my writing group.
Now, you must know that the idea for this novel came to me years ago - when I was only a junior in high school. However, all the pieces didn't click together until now, when the book came rushing out of my fingers and pounded in the keys of my laptop.
When I started writing just a few months ago, I began with a sentence (like all of us do). Let's call that Sentence A.
However, when I looked over my notes, I found another beginning sentence I'd written back in high school. This is Sentence B. Not only was it completely different, but it started me almost two chapters prior in the day than what I wrote in Sentence A.
So, naturally, I decided I'd play out what happened between Sentence B and Sentence A. Five thousand words of exposition later, I had a first and second chapter cluttering up the most important part of my novel - the beginning.
It's not like that information is bad, or not useful, or even boring. Things happen. Important characters are introduced. The world is set up.
But it isn't the RIGHT information. It's not the stuff that readers need to know about the protagonist and the inciting incident right from the very first page.
In fact, one of the women in my writing group said, "It's not like Sentence B didn't grab me. It did. It took me by the hand. But Sentence A grabs me by the throat and doesn't let me go."
The strange part about all of this is that I knew that Sentence A was better. I knew that I had to start my novel there all along.
And you know too.
You know when you read through your draft that that verb is too flowery or that sentence isn't right. You know when your protagonist's monologue that stretches for three pages is way too much dialogue and not enough action. You know that you had to start with Sentence A rather than Sentence B.
That's the beauty of being a writer. All you need is within you. You can feel the self doubt creeping in, whispering "that doesn't work." You hear it, even subconsciously, and it puts this seed inside you that makes you show your work to others and ask, "Hey, what do you think of Sentence B?"
Every time (if they're not lying to save your feelings), your readers and critiquers, and yes, your agents, know that you should cut Sentence B and all that precedes it.
The power lies within you. The hard part is learning to listen to it.
The reward, however, is great. I'd much rather grab a reader by the throat and have them tearing through my novel than lead them timidly by the hand.
Now, you must know that the idea for this novel came to me years ago - when I was only a junior in high school. However, all the pieces didn't click together until now, when the book came rushing out of my fingers and pounded in the keys of my laptop.
When I started writing just a few months ago, I began with a sentence (like all of us do). Let's call that Sentence A.
However, when I looked over my notes, I found another beginning sentence I'd written back in high school. This is Sentence B. Not only was it completely different, but it started me almost two chapters prior in the day than what I wrote in Sentence A.
So, naturally, I decided I'd play out what happened between Sentence B and Sentence A. Five thousand words of exposition later, I had a first and second chapter cluttering up the most important part of my novel - the beginning.
It's not like that information is bad, or not useful, or even boring. Things happen. Important characters are introduced. The world is set up.
But it isn't the RIGHT information. It's not the stuff that readers need to know about the protagonist and the inciting incident right from the very first page.
In fact, one of the women in my writing group said, "It's not like Sentence B didn't grab me. It did. It took me by the hand. But Sentence A grabs me by the throat and doesn't let me go."
The strange part about all of this is that I knew that Sentence A was better. I knew that I had to start my novel there all along.
And you know too.
You know when you read through your draft that that verb is too flowery or that sentence isn't right. You know when your protagonist's monologue that stretches for three pages is way too much dialogue and not enough action. You know that you had to start with Sentence A rather than Sentence B.
That's the beauty of being a writer. All you need is within you. You can feel the self doubt creeping in, whispering "that doesn't work." You hear it, even subconsciously, and it puts this seed inside you that makes you show your work to others and ask, "Hey, what do you think of Sentence B?"
Every time (if they're not lying to save your feelings), your readers and critiquers, and yes, your agents, know that you should cut Sentence B and all that precedes it.
The power lies within you. The hard part is learning to listen to it.
The reward, however, is great. I'd much rather grab a reader by the throat and have them tearing through my novel than lead them timidly by the hand.
Saturday, March 19, 2016
Space, The First Frontier for Writers. (AKA, another super-late post, Sorry!)
Sorry for the radio silence this week, guys. Chalk it up to another super late post tally.
To make it up to you, I can only offer this one simple image that I think we can all relate to. It pretty much sums up this week for me:
https://www.pinterest.com/pin/476326098070182263/
Want more where that came from along with witty motivation and cool idea starters? Check me out on Pinterest!
To make it up to you, I can only offer this one simple image that I think we can all relate to. It pretty much sums up this week for me:
Want more where that came from along with witty motivation and cool idea starters? Check me out on Pinterest!
Thursday, March 10, 2016
Novel Tips: A Blog on Writing
This week I'd like to share with you another resource that you can use to grow your knowledge in the craft and help make your book ready for publication.
When I lived in Wisconsin, I had a writing mentor named Laurel Yourke. That's right, the same Laurel Yourke who wrote the 2000 book on writing: Take Your Characters to Dinner.
If you were to ask her now, as I have, what she thinks of that book, she'll implore that you never read it and don't even look it up. Like what's so true for many of us, she hates the mention of a work she did so long ago that she would do completely differently if she was allowed to rewrite it in the present.
I know I have the same problem. I take a look at the first novel I wrote at age 12 and grimace. How could I think that was good writing? How could people encourage me to keep writing after they read that slop?
The point is, they did encourage me. And I never could have arrived where I am today without them, Laurel included.
In respect for her, I won't tell you to read her 2000 book on writing (which I linked above, by the way), but I will suggest that you take a few moment and peruse her blog. It's main audience is for those who write novels - but there's awesome craft tips on there any writer would be grateful for.
She does a format much like myself - a post each week - so don't be afraid to rustle deep within the archives. It's all golden there.
Here's the link one more time. It's titled Novel Tips. http://noveltips.blogspot.com/
When I lived in Wisconsin, I had a writing mentor named Laurel Yourke. That's right, the same Laurel Yourke who wrote the 2000 book on writing: Take Your Characters to Dinner.
If you were to ask her now, as I have, what she thinks of that book, she'll implore that you never read it and don't even look it up. Like what's so true for many of us, she hates the mention of a work she did so long ago that she would do completely differently if she was allowed to rewrite it in the present.
I know I have the same problem. I take a look at the first novel I wrote at age 12 and grimace. How could I think that was good writing? How could people encourage me to keep writing after they read that slop?
The point is, they did encourage me. And I never could have arrived where I am today without them, Laurel included.
In respect for her, I won't tell you to read her 2000 book on writing (which I linked above, by the way), but I will suggest that you take a few moment and peruse her blog. It's main audience is for those who write novels - but there's awesome craft tips on there any writer would be grateful for.
She does a format much like myself - a post each week - so don't be afraid to rustle deep within the archives. It's all golden there.
Here's the link one more time. It's titled Novel Tips. http://noveltips.blogspot.com/
Thursday, March 3, 2016
I Believe, I Believe, I Believe! (AKA Weak Words You Need To Cut Now)
You may think that your editing ceases with punctuation and passive voice. Think again. There are many writer pitfalls that are acceptable in the real world, but not so in fiction. Take a look at my compilation of weak words and phrases you need to cut from your writing right NOW to take it to the next level.
(P.S. don't know what I mean when I say passive voice? Check out this previous post.)
#1: I feel/ I believe/ I think
Reason: It Kills Tension
These are extraneous words we use in dialogue so we don't sound too arrogant on a day to day basis. Women especially have problems over using these words in writing because we're taught not to be "bossy" by our society. However, the best and most tense fiction is bossy. The reader picked up your book because they want you to be the boss of your story and to share that story with them.
Solution:
If you had: "I believe that's an excellent point"
Change it to: "That's an excellent point."
Note: The only acceptable reason I feel/ I believe/ I think should enter your word count is if it's in dialogue and it is used for characterization. So, if you're making an insecure character who is unsure about sharing her thoughts, having her constantly say I feel/ I believe/ I think would make sense. Just make sure it's done enough that it doesn't seem like a sloppy mistake.
#2: Very
Reason: Useless
Prolific author Florence King once said, "“Very” is the most useless word in the English language and can always come out. More than useless, it is treacherous because it invariably weakens what it is intended to strengthen. For example, would you rather hear the mincing shallowness of “I love you very much” or the heart-slamming intensity of “I love you”?" (http://www.goodreads.com/quotes/341956-very-is-the-most-useless-word-in-the-english-language) That sums it up nicely. "Very" not only is completely unnecessary for your fiction, but it may even lower its quality.
Solution:
You can simply cut "very" from your piece entirely like Ms. King suggests or pull out your thesaurus. Did you write "very afraid"? Switch it to "terrified". How about "very large"? Change it to "enormous".
#3: Really
Reason: Useless
So there might not be a quote with this one, but "really" falls under the same trap. It's vague and, quite frankly, doesn't serve a purpose.
Solution:
Rather than writing: "Amanda really did well in the spelling bee."
Write: "Amanda did well in the spelling bee."
Same impact, better execution.
#4: People
Reason: Vague
Could anything be more unspecific than "people"? With all the shapes, sizes, genders, races, ethnicities, and smells we come in, why confine yourself to the vaguest of vague pronouns? You can do better.
Solution:
See your scene and your characters. Rather than writing, "A person walked past the window" say "A squat man walked past the window" or "A weeping child that smelled of porridge walked past the window".
I can hear you protesting already, "I used the word 'people' because that person isn't a main or supporting character, they're just passing through." After I ask you to seriously consider why you even have this tidbit of info in your scene if that's the case (seriously. Think...), I would still implore that "people" is unacceptable. Write, "a girl walked past the window." Or "a shadow passed the window." Resorting to "people" is like saying "Shakespeare had a thing on his desk." A thing? A THING? What thing? It's distracting in its vagueness. Your readers deserve more.
Now that you're armed with the tools to cut out tension killers, as well as vague and useless words, get back to it. After you're confident seeking them out in finished work to destroy them, it'll become second nature not to use them in your first drafts as well.
(P.S. don't know what I mean when I say passive voice? Check out this previous post.)
#1: I feel/ I believe/ I think
Reason: It Kills Tension
These are extraneous words we use in dialogue so we don't sound too arrogant on a day to day basis. Women especially have problems over using these words in writing because we're taught not to be "bossy" by our society. However, the best and most tense fiction is bossy. The reader picked up your book because they want you to be the boss of your story and to share that story with them.
Solution:
If you had: "I believe that's an excellent point"
Change it to: "That's an excellent point."
Note: The only acceptable reason I feel/ I believe/ I think should enter your word count is if it's in dialogue and it is used for characterization. So, if you're making an insecure character who is unsure about sharing her thoughts, having her constantly say I feel/ I believe/ I think would make sense. Just make sure it's done enough that it doesn't seem like a sloppy mistake.
#2: Very
Reason: Useless
Prolific author Florence King once said, "“Very” is the most useless word in the English language and can always come out. More than useless, it is treacherous because it invariably weakens what it is intended to strengthen. For example, would you rather hear the mincing shallowness of “I love you very much” or the heart-slamming intensity of “I love you”?" (http://www.goodreads.com/quotes/341956-very-is-the-most-useless-word-in-the-english-language) That sums it up nicely. "Very" not only is completely unnecessary for your fiction, but it may even lower its quality.
Solution:
You can simply cut "very" from your piece entirely like Ms. King suggests or pull out your thesaurus. Did you write "very afraid"? Switch it to "terrified". How about "very large"? Change it to "enormous".
#3: Really
Reason: Useless
So there might not be a quote with this one, but "really" falls under the same trap. It's vague and, quite frankly, doesn't serve a purpose.
Solution:
Rather than writing: "Amanda really did well in the spelling bee."
Write: "Amanda did well in the spelling bee."
Same impact, better execution.
#4: People
Reason: Vague
Could anything be more unspecific than "people"? With all the shapes, sizes, genders, races, ethnicities, and smells we come in, why confine yourself to the vaguest of vague pronouns? You can do better.
Solution:
See your scene and your characters. Rather than writing, "A person walked past the window" say "A squat man walked past the window" or "A weeping child that smelled of porridge walked past the window".
I can hear you protesting already, "I used the word 'people' because that person isn't a main or supporting character, they're just passing through." After I ask you to seriously consider why you even have this tidbit of info in your scene if that's the case (seriously. Think...), I would still implore that "people" is unacceptable. Write, "a girl walked past the window." Or "a shadow passed the window." Resorting to "people" is like saying "Shakespeare had a thing on his desk." A thing? A THING? What thing? It's distracting in its vagueness. Your readers deserve more.
Now that you're armed with the tools to cut out tension killers, as well as vague and useless words, get back to it. After you're confident seeking them out in finished work to destroy them, it'll become second nature not to use them in your first drafts as well.
Tuesday, February 23, 2016
Cutting Out the Excess for Success
I've been thinking a lot about excess. It all started this past Thanksgiving. As many faithful blog readers know, I moved from Wisconsin to North Carolina this year, and Thanksgiving was the first holiday we had the chance to celebrate in our new home.
However, if you follow me on Pinterest you also know that I've been a dedicated vegan since 2014. So, needless to say, Turkey Day being the killing and eating of turkeys rather than a day to celebrate their individuality really put a damper on my mood to begin with. Then, I learned that my family was planning to serve not one but TWO 15+ pound turkeys, plus a spiral ham and five pounds of pulled pork barbecue. When only 10 out of our 11 guests ate meat, and two of them were children, this seemed like a ludicrous amount of food (not to mention the 12 sides and 5 types of desserts) to feed less than a dozen people for one meal.
I kept asking, "Why do we need so much? Why can't we do with one turkey or one type of pork instead of causing so much waste and death?" And the only answer I ever got was, "Because it's Thanksgiving."
Directly after Thanksgiving follows Christmas, where again the talk of giant amounts of food reigned supreme. More turkeys, pork tenderloin, beef brisket, potatoes and stuffing and green beans and cheesy mac, one yellow cake, one cheesecake, one gluten free pudding cake, two pies, three different kinds of sugar cookies and four other types of candies and cookies were made and served to not 11 people, but 6.
And directly following dinner, there were presents - mounds and mounds of things we really didn't need to survive, which filled two black garbage bags of torn wrapping paper and ribbons all destined for the landfill.
Something within me shifted this past holiday season. For New Years I made a personal resolution (separate from my writing resolution, which you can find here) to cut back on how much trash I produce and to really think about the food I consume and waste.
I urge you to do the same, if not in your life, then at least in your writing. As I write my new novel, I've employed a minimalist mindset to my words. Why use three words to describe something you can say in one? Why use two scenes to farther the plot when condensing them is possible and allows for a faster tone of pace for your novel, ratcheting up the tension?
If you think about it, what do all your favorite books have in common?
They keep you interested!
The plot moves and the characters sizzle and the tension keeps you wound tight into the pages like the curly ribbon on a Christmas present.
One way you can achieve this same interest is by cutting back the excess in your work. Take out dialogue tags that aren't needed. Use only one simile in this paragraph rather than two. The concept applies to every aspect of the craft.
I've found that cutting back the excess in my life and only keeping what functions or what makes me really happy has helped me to relax more and be more creative. I no longer feel like I'm wasting time or things. I no longer have anxiety that I need to clean and tidy and straighten all the time because there are fewer things that can get out of place.
Why wouldn't you want the same feeling for your novel?
So, the next time you write - condense, condense, condense - and the next time you throw a party, how about cutting out one excess meat option just for me and animals :)
However, if you follow me on Pinterest you also know that I've been a dedicated vegan since 2014. So, needless to say, Turkey Day being the killing and eating of turkeys rather than a day to celebrate their individuality really put a damper on my mood to begin with. Then, I learned that my family was planning to serve not one but TWO 15+ pound turkeys, plus a spiral ham and five pounds of pulled pork barbecue. When only 10 out of our 11 guests ate meat, and two of them were children, this seemed like a ludicrous amount of food (not to mention the 12 sides and 5 types of desserts) to feed less than a dozen people for one meal.
I kept asking, "Why do we need so much? Why can't we do with one turkey or one type of pork instead of causing so much waste and death?" And the only answer I ever got was, "Because it's Thanksgiving."
Directly after Thanksgiving follows Christmas, where again the talk of giant amounts of food reigned supreme. More turkeys, pork tenderloin, beef brisket, potatoes and stuffing and green beans and cheesy mac, one yellow cake, one cheesecake, one gluten free pudding cake, two pies, three different kinds of sugar cookies and four other types of candies and cookies were made and served to not 11 people, but 6.
And directly following dinner, there were presents - mounds and mounds of things we really didn't need to survive, which filled two black garbage bags of torn wrapping paper and ribbons all destined for the landfill.
Something within me shifted this past holiday season. For New Years I made a personal resolution (separate from my writing resolution, which you can find here) to cut back on how much trash I produce and to really think about the food I consume and waste.
I urge you to do the same, if not in your life, then at least in your writing. As I write my new novel, I've employed a minimalist mindset to my words. Why use three words to describe something you can say in one? Why use two scenes to farther the plot when condensing them is possible and allows for a faster tone of pace for your novel, ratcheting up the tension?
If you think about it, what do all your favorite books have in common?
They keep you interested!
The plot moves and the characters sizzle and the tension keeps you wound tight into the pages like the curly ribbon on a Christmas present.
One way you can achieve this same interest is by cutting back the excess in your work. Take out dialogue tags that aren't needed. Use only one simile in this paragraph rather than two. The concept applies to every aspect of the craft.
I've found that cutting back the excess in my life and only keeping what functions or what makes me really happy has helped me to relax more and be more creative. I no longer feel like I'm wasting time or things. I no longer have anxiety that I need to clean and tidy and straighten all the time because there are fewer things that can get out of place.
Why wouldn't you want the same feeling for your novel?
So, the next time you write - condense, condense, condense - and the next time you throw a party, how about cutting out one excess meat option just for me and animals :)
Tuesday, February 16, 2016
BONUS POST: Where Are You Taking Me? (AKA the "But When" method)
Here it is, the bonus post. Earlier today we talked about setting in this post and right now, we're going to do a short rundown on plot.
One of the biggest reasons agents and publishers turn down beautifully written work is because the characters don't go anywhere or do anything. There's no external conflict. Nothing HAPPENS. What all this boils down to is - there's no plot.
Often, the easiest time to see whether or not plot exists is when you're writing a query. Here, you have a scant three sentences - a single paragraph if you're pushing it - to tell an agent why they should take on your book in their limited roster. Ideally, you should be able to summarize the main plot line in your novel in a single sentence.
When you do this exercise, it's very easy to discover if you've got plot or if it's sorely missing. If your sentence reads something like this, you may be in trouble:
Peasant Gretchen wants more than anything to be a knight, even though she's a woman, so she sets out on a quest to prove her bravery.
Okay, we know this story is about Gretchen, a peasant with lofty goals, but we know little about the conflict she will face. This story could easily get lost wandering in circles in the enchanted forest.
Instead, employ the "but when" method. Take a look at this plot line:
Peasant Gretchen wants more than anything to be a knight, even though she's a woman, so she sets out on a quest to prove her bravery, but when a dragon attacks her home, leaving her father crippled, she must decide between following her dreams or doing what is best for her family.
Now, we know the character: Gretchen the peasant.
We know her deepest desire: To be a knight.
We know the inciting incident: A dragon attacks Gretchen's home.
We know the conflict: She must decide between going home to help her crippled father or committing to becoming a knight.
What we also know is that a plot line exists - at least the beginnings of one - and most likely agents and readers will want to read more to figure out how this conflict resolves.
Try the "but when" method with your own novel in progress and see if you've got a plot worthy of publication or if you're still meandering around the same safe enchanted shrub.
One of the biggest reasons agents and publishers turn down beautifully written work is because the characters don't go anywhere or do anything. There's no external conflict. Nothing HAPPENS. What all this boils down to is - there's no plot.
Often, the easiest time to see whether or not plot exists is when you're writing a query. Here, you have a scant three sentences - a single paragraph if you're pushing it - to tell an agent why they should take on your book in their limited roster. Ideally, you should be able to summarize the main plot line in your novel in a single sentence.
When you do this exercise, it's very easy to discover if you've got plot or if it's sorely missing. If your sentence reads something like this, you may be in trouble:
Peasant Gretchen wants more than anything to be a knight, even though she's a woman, so she sets out on a quest to prove her bravery.
Okay, we know this story is about Gretchen, a peasant with lofty goals, but we know little about the conflict she will face. This story could easily get lost wandering in circles in the enchanted forest.
Instead, employ the "but when" method. Take a look at this plot line:
Peasant Gretchen wants more than anything to be a knight, even though she's a woman, so she sets out on a quest to prove her bravery, but when a dragon attacks her home, leaving her father crippled, she must decide between following her dreams or doing what is best for her family.
Now, we know the character: Gretchen the peasant.
We know her deepest desire: To be a knight.
We know the inciting incident: A dragon attacks Gretchen's home.
We know the conflict: She must decide between going home to help her crippled father or committing to becoming a knight.
What we also know is that a plot line exists - at least the beginnings of one - and most likely agents and readers will want to read more to figure out how this conflict resolves.
Try the "but when" method with your own novel in progress and see if you've got a plot worthy of publication or if you're still meandering around the same safe enchanted shrub.
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