By: Karen Cioffi,
on 5/21/2014
Guest post by Kathleen Moulton The best way to grow stronger is during a struggle. Who likes this process? But if we work through it, we will come through it, and discover things about us we didn't know were there. Since seriously beginning a freelance writing career almost 2 years ago, I have had 4 magazine submission rejections and 1 acceptance. With each rejection, I've learned this
By: Darcy Pattison,
on 11/15/2013
Here’s a quote from Orson Scott Card, the author of Ender’s Game:
So as you look at your bogged down first draft, look to see how much of your effort is spent on withholding information, and then examine whether your reader has any reason to care about what’s going on as long as that information is withheld. Most novice writers imagine that this is how suspense is created–by hodling back key information from the reader. But that is not so. Suspense comes from having almost all the information–enough information that the audience is emotionally involved and cares very much about that tiny bit of information left unrevealed.
Usually the only information that you withhold is this: what is going to happen next.
–Orson Scott Card. How to Write Science Fiction and Fantasy, p. 85.
By: PJ Hoover,
on 6/13/2013
Happy summer! The summer solstice fast approaches, so I'm taking a brief moment today to talk about:
By: PJ Hoover,
on 5/27/2013
Happy Monday! Today I’m talking about shiny things.
Right, shiny things.
Why, you might ask? Well, because, when writing, shiny things should be avoided at all costs.
By: PJ Hoover,
on 4/22/2013
Hey there! I hope the weekend was awesome for you all. If you missed it last week, I decided spring was the perfect opportunity to spring clean your manuscript. If you missed Part 1, you can find it here. Otherwise, it's on to Part 2, in which I dig a little bit deeper!
Here are 5 more ways to Spring Clean your Manuscript…
1) The beats
Some beats in a manuscript are great. Some are kind of in the middle. And then some...they are pretty much worthless.If you're like me, you throw these needless beats into the story without even thinking about them. You revise without ever noticing them. And you know what? They are so inconsequential, we are blind to them. "He laughed." "She turned." "He smiled." I know what you're thinking. But my characters are really doing these things. It doesn't matter. The reader doesn't need to be told. They will figure it out.
2) The names
As with a title change, sometimes characters need a fresh, new start. When you started your story, you probably named your characters for really deep meanings. Do these meanings still matter? Does a clunking or confusing character name make the story harder to follow? Do you have too many clever nicknames for people? Basics are good when it comes to names. So go through and re-think them. See if naming your supporting character something new will spark a nice new perspective.
3) The tags
Every time someone speaks, they do not need a dialogue tag. Sure, some are very nice to help the reader follow along. After all, the reader doesn't know your characters as well as you do. But every single piece of dialogue does not need a "he said" or a "she said." Once you pare down your tags, simplify them. Characters say things. They don't have to grumble them or exclaim them or even snap them. Said is the least intrusive and generally the safest way to go.
4) The doubt
Depending on who your main character is, consider how much doubt would be in their point of view. When you character has dialogue or internal monologue, how would they phrase it? "I think we should go to the park" or "We should go to the park." How confident is your main character and how much do they take action?
5) The stereotypes
There is no room for characters that fit the mold. Help your characters step out and be different than their stereotypical counterparts. Remove your bitchy cheerleaders and your dumb jocks. Craft your nerds to be more than glasses-wearing kids who carry around too many books. Sure, some traits belong with certain types of people. But that doesn't mean the characters have to be stereotypes. They can be whoever they want to be.
Happy Spring! And Happy Writing and Revising!
By: PJ Hoover,
on 4/15/2013
Hope you all had a wonderful weekend! Today I’m talking about Spring Cleaning! There’s nothing quite like a little change in the weather to motivate me to clean around the house. But it doesn’t stop with the house. Why not take this wonderful time to spring clean your current manuscript?
Here are 5 ways to Spring Clean your Manuscript…
1) The darlings
They must be killed. Yes, I know they are special to you, but that’s where it stops. Those jokes that seem so funny in your mind might actually not be very funny to anyone else. So identify as many darlings are you can, call them out for what they are, and destroy them.
2) The cliches
Yes, every single one. The road to hell isn’t paved with good intentions. It’s paved with cliches. The time for cliched writing is gone with the wind. So if your kid comes home and mentions a great cliche they learned in class today and you have that cliche in your manuscript, take that as a sign from the universe and give it the ax.
3) The title
Are you sure your title works? Is this perhaps the perfect time to take a look at it and really consider if it is going to capture the attention your wonderful darling-free and cliche-free manuscript deserves? Did another book just come out with the same title? Take a step back and at least consider some other options. You may surprise yourself with what you come up with.
4) The adverbs
Yes, these are the words we all love that end in “ly.” Cut. Them. All. And then, only if you desperately feel like you need one badly, put it back in sparingly. They don’t have a place. And I’m talking about after dialogue tags, too. People may say things gruffly, but I don’t want to be told that. I want to be shown that.
5) The backstory
Sure, you care about what happened to your characters before. You’ve mapped out their lives. Their parents have jobs. Their siblings have best friends. You know all the places they frequent. But that doesn’t mean your reader needs to know or will care one hoot about any of this stuff. Drop us in the action and then dribble in ONLY THE IMPORTANT DETAILS later on.
Happy Spring! And Happy Writing and Revising!
By: Karen Cioffi,
on 3/20/2013
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By: Cathy C. Hall,
on 3/12/2013
By: Cathy C. Hall,
on 3/5/2013
By: Cathy C. Hall,
on 8/14/2012
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By: Karen Maxwell,
on 10/30/2010
This was originally published on Write Anything, October 23, 2008.
Welcome back to Write Anything NaNoWriMo workshop week!
*taps monitor* Are you awake? Are you daydreaming? I hope you’re daydreaming about your NaNoWriMo project because guess what?
We start in less than 48 hours!!!
No worries, right? *gulp*
If you’re just tuning in (welcome!), we’ve been talking about various aspects of beginning a novel-length story this week. We’ve covered finding ideas, setting, character, point of view, and plot.
Today, we’ll cover constructing scenes – from start to finish – and tomorrow, I turn the floor over to you and you get to share what sort of progress you’ve made thus far and offer any NaNoWriMo advice.
Let’s get started …
Again, I will be referencing Plot & Structure – Techniques and exercises for crafting a plot that grips readers from start to finish by James Scott Bell because in my opinion, this is one of the best books about plot on the market. If you haven’t checked it out, seriously, dude, look at it. It’s good.
Most readers judge whether they will A. continue reading the story, or B. like the story within the first ten pages of reading the story.
So tease your readers, make them want to stick around and read the rest of your story with a killer beginning.
THE BEGINNING of your novel actually performs several tasks:
1. Get the reader hooked.
2. Establish a bond between the reader and the Lead character.
3. Present the story world – tell us something about the setting, the time, and the immediate context.
4. Establish the general tone of the novel. Is this to be a sweeping epic, or a zany farce? Action packed or dwelling more on character change? Fast moving or leisurely paced?
5. Compel the reader to move on to the middle. Just why should the reader care to continue?
6. Introduce the opposition. Who or what wants to stop the Lead from obtaining his/her goal/objective?
First impressions are everything when it comes to tempting people to read your novel. Blow your first impression and you’ll have twice the work to get readers’ attention.
Bell suggests the following to grab readers:
Opening Lines:
Start your opening lines with the character’s name (Bell suggests looking at some of Koontz’s work – he’s the master of killer opening lines. I agree). In addition to introducing the reader to your character right off the bat, make something happen to that character, “and not just something ominous or dangerous. An interruption of normal life.”
Give your readers motion, of something that is about to happen or has happened. If you do this, it’s likely your reader will want to stick a
By: Karen Maxwell,
on 10/28/2010
This post was originally published on Write Anything, October 22, 2008.
Welcome back to Write Anything NaNoWriMo workshop week!
Plot happens. Or in my case, it doesn’t happen enough.
I apologize for the lateness of this post, but plot … *insert heavy sigh here* is indeed my Achilles heel.
I normally have no problem finding ideas, settling on a (vague) character or finding that character’s voice, but plot … I have a problem with.
I think, at heart, I’m a short story writer. I can whip out short stories like nobody’s business, but when it comes to stories longer than 4,000 words? My brain completely locks up. I never know where to go, which way to turn and my stories tend to veer off the main highway and before long, I’m out in the middle of rural imagination land scratching my head and wondering how in the world do I find the road back to my original premise.
So, writing about plot? Is NOT an easy thing for me. However, I’ll try my best to make this post coherent and informative – for both you AND me. (And if you have anything to add, you’re MORE than welcome to do so!)
Plot, in essence, is the board, or frame, for your story puzzle pieces. You take an idea, snap on a few characters, insert them into a POV, border it with conflict and voila! You have a plot for your story.
Oh, if only it were that easy.
I’ll be referencing several areas from James Scott Bell’s Plot & Structure because it truly is an invaluable how-to plot resource guide. If you don’t have this book, I recommend buying it – now.
You might be one of those writers who likes to have their story all worked out in your mind before you write your novel. You preplan, plan, revise the plan before writing. Perhaps you have index cards all over your wall or desk as you read this. (Guilty?)
Or, you might be one of those seat-of-the-pants writers who loves to plop down each day at the computer or over a pad of paper and just write, letting your story flow without planning, anxious to see where your story takes you.
Or, you could also be a ‘tweener (*raises hand*) who does a bit of planning but still seeks some surprises and spontaneity.
Which ever method you use, you have to ask yourself one question: Does it connect with readers? After all, that is the purpose behind plot.
Readers are subconsciously asking these questions when they open books:
What’s this story about?
Is anything happening?
Why should I keep reading?
Why should I care?
These are all plot questions, and if you want to make it as a writer of novel-length fiction, you must learn how to answer them.
There are a few basic plot elements, that if understood and applied, will help you come up with a solid plot every time.
Let’s talk about Bell’s LOCK system:
L is for Lead
A strong plot starts with an interesting Lead character. In the best plot, that Lead is compelling, someone we have to watch throughout the course of the novel.
O is for Objective
Objective is the driving force of fiction. It generates forward motion and keeps the Lead from just sitting around. An objective can take either of two forms: to get something, or to get away from something.
C is for Confrontation
Opposition from characters and outside forces brings your story
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By: Karen Maxwell,
on 10/25/2010
This post was originally published on Write Anything, October 21, 2008.
Welcome back to Write Anything NaNoWriMo workshop week!
“The choice of the point(s) of view from which the story is told is arguably the most important single decision that the novelist has to make, for it fundamentally affects the way readers will respond, emotionally and morally, to the fictional characters and their actions.” David Lodge
Let’s talk a little bit about point of view.
When I first became interested in writing, point of view confused me.
A lot.
First of all, I couldn’t keep them straight. I think the writing teachers I had back in school took great delight in watching our faces contort into all sorts of bewildered masks as they stood in front of the class and talked about the various points of views and when you should, or should not use them.
And if you learned NOTHING else from them, you did not, under any circumstances, combine them in the same story!
*insert horrified gasp*
That point was pounded so much into my brain I actually graduated from college with a lop-sided skull.
Now, you’re lucky if you read a story, any story and from any genre, that doesn’t have at least two different points of view in them. And in some stories, points of view change so fast that it leaves readers scratching their heads trying to figure out 1). which character they’re supposed to be following and 2). exactly whose story is it, anyway?
Even though I understand the difference between the points of view now, I still hesitate over which POV I should write my stories from, because a lot of times, picking the right point of view can make, or break, your story.
But first things first – let’s define the various points of view:
First-Person Singular POV
The most natural POV is the first-person singular, since all stories and trials originate with someone, an “I,” witnessing what happens.
The first person narrator can tell a story with herself as a central character or she can be one of the minor characters. Or she can tell somebody else’s story, barely mentioning herself except to show where the information comes from.
First-Person Multiple POV
You use several first-person narrators and alternate among them, usually beginning a new chapter with each change of narrator. This strategy offers a diversity of voices, viewpoints and ways of thinking without the arrogance of the omniscient sound.
Some pros and cons for First-Person POV:
Pro: It’s technically the least ambiguous. Readers always know who is seeing and experiencing the story. It’s subjective. You’re a bit more free with the voice – using slang, bad grammar, etc. And first person offers smooth access to a character’s thoughts. (You don’t have to worry about awkward switches in pronouns – which CAN get tedious).
Cons: We can’t take an outside look at our POV character. Sure, you could use a mirror, but that’s been overdone and is in fact, cliche – avoid that technique if at all possible. In a suspense story, it’s pretty much a given that an “I” character will survive – kill off your “I” character and the story dies with him/her. And it’s hard to create a compelling new voice for each story.
Third-Person Omniscient POV
In this POV, which is used infrequently in contemporary writing, the author knows everything about all the character
Details are really important to me.
I've interrupted writing sprees to research the little things, all to construct realistic scenes of places I've never seen, traditions I've never practiced, clothing and accessories I've never worn. Some people may think it's a time waster, but I believe these details will help me create a believable setting for my manuscript. This may seem inconsequential in the big scheme of things, when we need to focus on dialogue, plot and character arc, not to mention writing a unique story that will appeal to agents, publishers and readers.
Oh, the pressure!
But, let us not forget the details. You will add life to your pages, you will set your story apart from the masses, if you remember to capture the details.
Have you had a chance to read SPILLING INK by Anne Mazer and Ellen Potter? If you haven't, you must check it out. It's a great resource for the young writer, or a middle school teacher to use in a classroom setting. And I'll admit, there are helpful tips for an older person (ahem), like me. Note: Thank you, MacMillan Children's Publishing Group for sending me a copy.
But, have no fear. This is NOT a boring writing manual. No way. Kids are going to have fun learning how to write.
The book cover and illustrations pop (thanks to illustrator Matt Phelan). Add in Anne's and Ellen's catchy titles, entertaining chapters, and I DARE YOU writing exercises, and you've got a great book young writers will want to use, over and over again. Anne and Ellen encourage their readers, offering them easy to understand examples and helpful tips. First drafts, voice, characters, plot, dialogue, writer's block, and even revisions won't seem impossible to handle. And that is huge.
Without further ado, I'm so pleased to welcome Anne and Ellen as guest bloggers today.
It may not look very impressive, but I practically drooled over it. Colored index cards, holes already punched in, 2 loose leaf rings, and 2 tabs. All of a sudden, I had the urge to figure out the best way to use this, and soon discovered
15 Comments on Day 28: Mapping Out Writing Time: Brilliant Plots Require Easy Organization and Happiness Giveaway #2, last added: 1/16/2010
By: Karen Cioffi,
on 1/8/2010
I've written about showing and telling before, but it’s such an important topic that I think more information is always helpful.
Writing is an ongoing adventure…always something to learn and tweak and hone. I recently wrote a children’s story and found I still had a bit of showing in it, thanks to the critique by the Children’s Writers Coaching Club with Suzanne Lieurance (more about the club below).
I was toying with the idea of submitting my story as a picture book, but was advised it would work out better as a children’s magazine article, unless I wanted to rewrite it specifically for a pb. Anyway, I noticed that when I write, and I think this goes for most of us, my thoughts precede my reading ability – so I don’t catch my own errors. This happens because I know what I wrote and what I intend to convey. This makes it almost impossible for a writer to edit her (or his) own work. You can get close, but as the saying goes, Almost Doesn’t Cut It.
What do I mean? Well, let’s look at a simple sentence:
In a daze, Pete stumbled to his feet.
While this isn’t the exact sentence in my story, it is similar. I revised my article and reread it numerous times and didn’t notice that “in a daze” is telling, not showing. And, what’s the KEY to writing in today’s fast paced, no time to waste world? FOCUS AND TIGHT WRITING.
In fact, the fast paced reader of today is getting even more impatient and ready to move on in the blink of an eye. So, we need to take this into account in our writing and marketing.
Okay, back to the focus of the article…
So, how do we change the above sentence into a showing only sentence?
Dazed, Pete stumbled to his feet.
Really simple when you are able to actually read what is written rather than already know what you intended.
What are the important tips to take away?
1. Make sure you are part of a critique group
2. Join the Children’s Writers Coaching Club if you are writing for children
3. Do not submit your work to a publisher or agent before you’ve had it professionally edited.
Now for a bit about the Children's Writers Coaching Club:
I'm a member of Suzanne Lieurance’s Children's Writers Coaching Club and I have to say it is a great club. It delves into writing children’s books as well as writing for children’s magazines: the techniques, tips, the dos and don’ts, it’s all explained. Members are given monthly assignments geared to get your work published. There is also a weekly critique session in which you submit a manuscript or article and Suzanne personally critiques it for you. In addition to this there are weekly teleclasses that teach you the ins and outs of writing for children, freelancing, and marketing. All this along with Suzanne’s knack for motivating and encouraging her members helps you learn and hone your craft. My writing has improved greatly with Suzanne’s guidance and I continue to improve and benefit from this club. I don’t think there is another club that offers so much for such a miniscule price of $27.00 per month.
And, if you're interested in having an extra set of eyes look over your manuscript before submitting it, DKV Writing 4 U offers a wide range of writing services - check it out at http://dkvwriting4u.com/.
Another article that might interest you:
2 Comments on Are You Showing or Telling?, last added: 1/10/2010
You must read this incredible essay by Alexander Chee.
It will change the way you look at your writing.
Read the essay. Then, start writing.
Remember Veruca Salt in Willy Wonka and the Chocolate Factory? This spoiled young girl wanted everything--a golden ticket, an Oompa Loompa, a golden geese, the golden egg--ALL Right NOW!
Not everyone knows what they want. Sometimes it's wrapped up in immediate gratification or based on current trends. Or maybe it's reflected in the mood of the day. There's a certain level of respect, albeit a very thin one, we should offer Veruca, as she absolutely without a doubt knew what she wanted, how to articulate it, and by the way, if you didn't understand, it was all to be delivered right now. Yes, she was extreme and yes, she did fall on unfortunate circumstances, but she had her moments to shine and exploited used them to her advantage.
It's hard to wait for the things we most want. It's even harder when you're young, when patience is a foreign word, and you believe you deserve the world. Think about this as you discover what your MC wants most and how to get this to happen in your story. Hey, even better, use the following Magic Questions. Proceed with caution...if used properly, you'll find your story transformed. If not, you'll have one cluster@#$#.
and you'll find yourself writing silly nonsense like this:
I have the honor of being in the Summer Revision Smackdown Spotlight today. I'm talking revisions at Cuppa Jolie. Ack!
When I wrote the answers out yesterday, they sounded half-way decent. Now they're posted on Jolie's blog, and all of a sudden, I have an urge to revise. Gah!
Please stop by and say hello!
Confused about which POV to use when writing your story? Alan Rinzler has the Best Advice out there.
Taking a Chance on a Young Agent: Nathan Bransford
Royalties and Books: Moonrat
What's Safe to Syndicate On-Line?: Moonrat
Agents and the Slushpile: 10 Reasons They Stop Reading: Guide to Literary Agents
Check out this incredible offer from consulting editor Alan Rinzler: Open Call for Book Proposals! Free Critiques!
Set aside quiet time and listen to Beth Kephart's interview with Barbara DeMarco-Barrett. This is an absolute need-to-do, if you want to add dimension to your writing. Your manuscript will love you for it.
Great tips. My problem is that I work and still have to drive my daughter to all her swim practices. I'm going to have less time to write, so will do the best I can. And I definitely want some of that fun, lazy summer time.
LOL, Natalie! That is why I never do swimteam for my kids!