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Viewing: Blog Posts Tagged with: the writing life, Most Recent at Top [Help]
Results 1 - 25 of 416
1. Classroom Connections: THE SECRET HUM OF A DAISY by Tracy Holczer

age range: middle grade (10 and up)
genre: contemporary fiction
study guide
Tracy Holczer’s website

“A lovely and captivating debut . . . Holczer writes with depth, heart, and a poetic lilt . . . nuanced characters engage from beginning to end.” —Publishers Weekly, starred review

“Holczer expertly crafts the characters and dialogue to create a story readers will identify with, and thoroughly enjoy… More than simply a book about grief and the death of a parent, Grace’s story is about the search for identity. An essential purchase for middle-grade collections.” —School Library Journal, starred review

Please tell us about your book.

The Secret Hum of a Daisy is a story about love and loss and what it means to be a family. It takes place after the sudden death of twelve-year-old Grace’s mother. Grace is forced to live with a grandmother she’s never met in a small town she’s never heard of. A town Mama left years before—with Grace in her belly and a bus ticket in her pocket—and never looked back. It doesn’t take long before Grace desperately wants to leave, too.

Until she finds the first crane.

A mysterious treasure hunt, just like the ones her mother used to send her on, takes Grace on a journey to find home. And it might just be closer than she thinks.

What inspired you to write this story?

I read a blog post recently where it talked about artists being “fundamentally inconsolable.”

This knocked my socks off for about two days while I thought about the reasons I sit in my chair to write. While “fundamentally inconsolable” isn’t the way I would talk about my life—I’m rather happy, actually—I do find that in my artist’s heart, this is very true. I feel compelled to write about themes of love and loss and belonging. These are deep rooted and wind in and out of my earliest memories, so when I sat down to write about Grace, it seemed natural to draw upon these themes that have special meaning to me.

Could you share with readers your writing process?

While I’m writing, my brain resembles something of a Jackson Pollack painting. Actually, even when I’m not writing, my brain tends to look like that. Ha! So, mostly, the writing process consists of me trying to figure out the order of things. As an instinctual writer, outlines don’t particularly work for me, but with my second book, I’m finding Blake Snyder’s beat sheet to be very helpful.

My books always start with a character and a situation. Family comes next and how that character interacts with the world. Once I see whatever it is that particular character yearns for, in their most secret heart, then the story begins to unfold. So the first few months of a book has me chasing down dead end roads and backtracking, and chasing down more dead end roads. It’s a little crazy making, but it’s what I’ve got. I am completely lacking a left brain, it seems.

What are some special challenges associated with writing contemporary middle grade?

Plot is so very tough for me to wrap my mind around. Especially in a contemporary story where the character isn’t questing for anything on the outside, like winning a competition or landing the lead in the school play. I mean, how to you write about yearning for a ten and up audience and keep them engaged? So, what I do is read writers who have mastered this. Kate DiCamillo. Linda Urban. Sharon Creech. Then I pray that things rub off.

What topics does your book touch upon that would make it a perfect fit for the classroom?

There is poetry from Robert Frost and from the main character, brief clips from different poems that felt very true to the themes of the story. I liked the idea of using clips since they can be easier to grasp and might encourage young writers to start small, as Grace does. The poetry also lends itself to the bigger idea that great sadness is always healed little by little, clip by clip.

The book touches on Sadako Sasaki and her thousand paper cranes, how we all have to find our own ways to heal. Magical thinking is part of that and children are so very good at it.

It would also tie in well with abstract art.

The post Classroom Connections: THE SECRET HUM OF A DAISY by Tracy Holczer appeared first on Caroline Starr Rose.

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2. Writing Links

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Debut Year Reflections, Tips for New Authors :: YA Highway

Novel Revision Charts: 2 Tools for Smart Re-Thinking of Your Story :: Darcy Pattison

Life Doesn’t Permit…and Other Wise Words On Making Time to Write :: Kate Messner

The Crushing Weight of Expectations :: Writer Unboxed

Redefining Expectations in Order to Stay Sane :: Read Write Thrive

The Hectic Life of a Multi-Published Author :: Jody Hedlund

 

The post Writing Links appeared first on Caroline Starr Rose.

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3. Troubles

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The trouble with writing says the historian who lives next door to me, is that no matter how many times you do it, you start out every time with the sick sense that you don’t know what you’re doing.

The trouble with writing says a novelist friend, is that it never gets any easier. If anything, it gets harder. And if it starts to get easier, you’re probably slacking off or repeating yourself.

The Millions :: The Trouble with Writing

The post Troubles appeared first on Caroline Starr Rose.

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4. Hooray for Val’s CROOKED RIVER! A Giveaway

‘Tis the season for critique partner debuts!

Last month we celebrated Kate Bassett’s Words and Their Meanings. Now it’s time to cheer on Valerie Geary and her Crooked River. It’s been especially thrilling to watch these two talents find their agents, sell their books, and then release them into the world just a few weeks apart. Val and Kate have been instrumental in my own writing process. Here’s a little glimpse into CROOKED RIVER and the way the three of us work together.

Before I hand things over to Val, though, I want to share that Crooked River made November’s Indie Next list. It’s that good.

Tell us about your book.

Still grieving the sudden death of their mother, Sam and her younger sister Ollie McAlister move from the comforts of Eugene to rural Oregon to live in a meadow in a teepee under the stars with Bear, their beekeeper father. But soon after their arrival, a young woman is found dead floating in Crooked River, and the police arrest their eccentric father for the murder.

Fifteen-year-old Sam knows that Bear is not a killer, even though the evidence points to his guilt. Unwilling to accept that her father could have hurt anyone, Sam embarks on a desperate hunt to save him and keep her damaged family together. Ollie, too, knows that Bear is innocent. The Shimmering have told her so. One followed her home from her mom’s funeral and refuses to leave. Now, another is following Sam. Both spirits warn Ollie: the real killer is out there, closer and more dangerous than either girl can imagine.

Crooked River is my first novel, a coming of age story and a page-turning mystery that I hope will touch readers’ hearts and keep them up past their bedtime.

What is it like to work with two other writers you’ve never met in person?

I was in a local writer’s group for a short time, and while it was nice meeting in person to talk life and writing, it was also incredibly awkward to have to sit there and listen as my group members picked apart my chapters. There was very little time and no space to consider what they were saying, and for me it ended up being this horrible emotional roller coaster that did more harm than good. 

My socially anxious personality tends to fit better with a virtual writer’s group. Whenever I’m ready, I send Caroline and Kate part or all of my manuscript. They take their time reading it and then they send the manuscript back with their notes attached. There’s less pressure this way, and a lot of distance, a feeling of detachment. Revision is all about setting aside what you think a story should be and really seeing it for what it is so that you can figure out what’s working and what’s not and why. During this stage, it’s important to be as objective as we can with our own work, and the best way I’ve found to do this is by not having my critique partners in the room while I consider their feedback. There’s no one around watching, or judging, or expecting things from me. No one for me to try and justify, defend, or explain my choices. It’s just me alone with my manuscript and their notes, finding a way to a better story.

That said, there are definitely times when I just want to go grab a cup of coffee and talk shop with my friends. Or pop by their house with a plate of cookies when they’re having a hard day. We can’t do this because of the distance, and that’s something I miss.

How often do you read for each other? Do you respond differently as a manuscript progresses? If so, how?

As long as I’m not pushing up against a deadline, I’ll read as often as Kate and Caroline need me to. I’ve read their manuscripts at various stages of development. When I read early drafts, I tend to look more for big picture problems like pacing, story arc, and character development. As the drafts progress, if I’m asked to read again, I still keep big picture things in mind, but I also edit for details, oddly worded sentences, grammar errors, and typos. At every stage, too, I try and point out things I love, beautiful phrases, sections that make me hold my breath or shed a tear, characters that steal my heart. Drawing attention to where a story already shines is just as important as pointing out where it might need a little more elbow grease

Beyond critiquing manuscripts, how else do you support one another?

In this business, there are highs and lows, good days, bad days. When I need to vent, when I want to celebrate, when I feel like a sham, when I read an interesting article, when I need encouragement, when I have stupid questions, when I need someone to tell me I’m not going crazy, or a safe place to be myself, or someone to bounce ideas off of, I go to Caroline and Kate first. No one understands the strange life of a writer better than other writers. 

What is something you’ve learned from your critique partners?

Perserverence, courage, resilience. 

Also, that I overwrite more often than underwrite. Thanks to Caroline and Kate’s keen eyes and wicked red pens, I’m more aware now of the places in my manuscripts where the prose gets wordy or redundant. Of course, I don’t catch everything–I still need them to help me trim the fat.

And finally…

One thing I always remind Caroline and Kate (or anyone else who asks me to critique their writing) is this: At the end of the day, it’s your story. So take the feedback that rings true to you and throw out the rest.

I feel like this is good life advice, too.

 

a Rafflecopter giveaway

The post Hooray for Val’s CROOKED RIVER! A Giveaway appeared first on Caroline Starr Rose.

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5. Purpose

I adore this.

Looking for purpose? Try this…

Sometimes a diagram can make the complex simple.

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6. Purpose

I adore this.

Looking for purpose? Try this…

Sometimes a diagram can make the complex simple.

10678846_733186486736877_5281924963199714176_n


0 Comments on Purpose as of 1/1/1900
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7. My Writing Tribe

Last week I spent a long weekend at a lake house in rural Illinois with ten of the closest friends I’ll ever have. They’re the Dystropians, fellow classmates and writers who graduated from VCFA with me. We live on all sides of the country, from California to New York to Florida, and once a year we get together to talk craft, laugh, and write.

Many of us don’t have writing communities back home, and this weekend is one of the few times we get to geek out, be ourselves, and embrace all things writing. This is my writing tribe. I can’t describe how important it is to have a writing tribe. It’s the one group of people who are going through the same highs and lows with me and understand what it is to sacrifice to write, and to love it with your whole heart.

This year I brought my camera, and I put together the following photo essay of our weekend. Enjoy!

Note: Scroll over the images with your mouse and you will see the full color contrast versions of the images.

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House-and-Tree

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Jessica-Walking

Mary-and-Acorns

Owls

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Writing-on-the-porch

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Meg-and-Tristan-writing

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Rachel-and-bird-house

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Mary-and-Jen-writing

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IMG_9681

Blowing-Bubbles

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IMG_9709

IMG_9712

IMG_9701

IMG_9999

Jess-and-books

Girls-laughing

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IMG_9526

Ingrid-and-Rachel

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IMG_9544

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Set-of-six-selfies

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It was a magical weekend!

Learn all about writing from this brilliant group of Dystropians. Check out these amazing blog posts they’ve shared:

Want to hear about last year’s lake house retreat?


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8. My Writing Tribe

Last week I spent a long weekend at a lake house in rural Illinois with ten of the closest friends I’ll ever have. They’re the Dystropians, fellow classmates and writers who graduated from VCFA with me. We live on all sides of the country, from California to New York to Florida, and once a year we get together to talk craft, laugh, and write.

Many of us don’t have writing communities back home, and this weekend is one of the few times we get to geek out, be ourselves, and embrace all things writing. This is my writing tribe. I can’t describe how important it is to have a writing tribe. It’s the one group of people who are going through the same highs and lows with me and understand what it is to sacrifice to write, and to love it with your whole heart.

This year I brought my camera, and I put together the following photo essay of our weekend. Enjoy!

Note: Scroll over the images with your mouse and you will see the full color contrast versions of the images.

IMG_9458

IMG_9762

House-and-Tree

IMG_9914

Jessica-Walking

Mary-and-Acorns

Owls

IMG_9827

Writing-on-the-porch

IMG_9838

Meg-and-Tristan-writing

IMG_9835

Rachel-and-bird-house

IMG_0083

Mary-and-Jen-writing

IMG_9948

IMG_9681

Blowing-Bubbles

IMG_9657

IMG_9709

IMG_9712

IMG_9701

IMG_9999

Jess-and-books

Girls-laughing

IMG_9527

IMG_9526

Ingrid-and-Rachel

IMG_9539

IMG_9544

IMG_9871

Set-of-six-selfies

IMG_0063

It was a magical weekend!

Learn all about writing from this brilliant group of Dystropians. Check out these amazing blog posts they’ve shared:

Want to hear about last year’s lake house retreat?


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9. The Complexity of Art: Creating and Connecting

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I’ve been thinking about how to define art ever since Emily P. Freeman began her 31 Days of Artful Living series a couple of years ago. Is art something that we do? Is it who we are? Who gets to decide if something is considered art?

But if I think back even further, I’ve been wrestling with my own definition of art for much longer.

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In 2001, a few months before my first child was born, I remember going to a high school art show. As I looked at the displays I knew it was time to decide what I was trying to do with words and why. Moving through the exhibit, from one piece to the next, I came up with a working definition for the artistic life — that it’s the process of creating and connecting.

Art as transaction, in other words.

I had a guest post over at Modern Mrs. Darcy a few days ago and in the comments section tried to explain this very sterile / non-lovely / perhaps controversial* picture of art.

Before I was published, I ached and ached for that final step of connection. All I could do was write my best and consistently submit to agents and editors. The connection portion was out of my hands. I found myself getting anxious, bitter, envious, all that lovely stuff. Even though I continued to feel the artistic process was incomplete without that final step, I had to make peace with how I was going to feel about my work and how it was (or wasn’t) received.

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Honestly, it’s still that way. There’s no promise what I write now will get anywhere. So I often have to lay that part of things aside and just write for myself. I am the one the work needs to connect with, ultimately. Oh yes, I want the “real” readers. Always, always. But the work is the satisfying thing, not the contract or recognition. It gets harder once people are looking in, anyway. I’ve had moments where I’ve been paralyzed worrying about how things would be received.

Publication — that final step — adds a complex layer to things. It means the art no longer belongs to just me. It’s the final step in letting go of a thing that was always temporarily mine.

Somehow, I’m able to hold these two opposites at once: Art isn’t complete until it’s been given away. Art is ultimately for ourselves.

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What do you think? How do you define art?

*Am I saying only those with a audience are the trust artists or that our efforts are only legit once shared with someone else? I’m not fully sure, actually. But for me that final step is part of the creative endeavor — even if that only means I’m pleasing myself.

The post The Complexity of Art: Creating and Connecting appeared first on Caroline Starr Rose.

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10. This Creative Life

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The discipline of creation, be it to paint, composite, write, is an effort toward wholeness.
—Madeleine L’Engle

The post This Creative Life appeared first on Caroline Starr Rose.

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11. Handspring’s Writing Conference 2014

The Society of Children’s Book Writers and Illustrators (SCBWI) has played a huge role in my writing life.  Joining SCBWI was a leap for me — for the first time I was able to see myself as a professional, even though I had no published works to show for it. The organization has led me to dozens of writing friends, critique groups, opportunities to better my craft, and now, as New Mexico’s assistant regional advisor, a chance to give back to the children’s writing community.

Ever dreamed of writing or illustrating books for children? If you live in New Mexico or in a neighboring state, I invite you to join us in Albuquerque for the upcoming Handsprings Conference on Oct. 24 and 25, 2014 at the Ramada Inn, Eubank and I-40.  Faculty will include the following publishing professionals:

  • Liza BakerExecutive Editorial Director, Little, Brown Books for Young Readers
  • Patti Ann HarrisSenior Art Director, Little, Brown
  • Sara MegibowAgent, Nelson Literary Agency
  • Julie Ham BlivenAssociate Editor, Charlesbridge ​​

The conference will include an evening social event on Friday and a full conference scheudle on Saturday, including a First Impressions Panel, individual faculty presentations, plus the opportunity to attend two of our five targeted breakout sessions.

Breakout Sessions

Here is an overview of the breakout sessions offered during this year’s conference. When you register, you’ll be asked to select two different workshops, one for breakout session #1 and one for breakout session #2.

Sara Megibow: Spoken Words and Written Words: Talking about Our Manuscripts and How This Helps Nail Pitch — Talking about a book can be helpful both to pitching your novel and to the actual written creation of your book. Attendees will talk through their pitches and their stories in a safe environment (or just listen to others talk if that’s more comfortable).

Julie Ham Bliven: Writing Middle-Grade Novels: Voice Your Voice — Using recent Newbery Medal and Honor books as a guide, this presentation examines qualities of remarkable middle-grade novels and suggests ways for you to strengthen your novel’s unique voice.

Patti Ann Harris:  Good Habits of Successful Illustrators — Learn how simple ideas like keeping a sketchbook, taking the time to research your subject, and being open to the revision process can help you to grow as an illustrator and a picture book artist.

Patti Ann Harris and Liza Baker: Picture Book Boot Camp — A behind-the-scenes look at the world of the picture book and the steps leading up to publication. A focus on craft will include lively discussion and some in-class work on such topics as creating strong characters, the best practices of succeful illustrators, and tips on polishing your picture book.

Liza Baker: SOMETHING OLD, SOMETHING NEW:  Bringing Creative Twists to Perennial Themes in Picture Books — There is a reason why some picture book themes are perennially popular and timeless, and why books that explore those themes are beloved by so many children. Be it bedtime, dinosaurs, princesses, or monsters, some topics are universal and resonate with children in a deep and resounding way. But within those themes there is a great deal of room for authors to explore new areas of creativity and bring a fresh point of view. In this workshop, we’ll discuss some of those most resonant topics, discuss examples of great books that bring an original approach to classic themes, and also brainstorm ideas for creatively layering themes in a playful way that offers readers a satisfying twist on those most celebrated topics.

Please click through to SCBWI New Mexico if you’d like to sign up for the event. I’d love to see you there!

 

The post Handspring’s Writing Conference 2014 appeared first on Caroline Starr Rose.

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12. Picture Book Poetry Collections

picture book poetry

Thinking, thinking, thinking about a seed of an idea that even my agent says would be a hard sell.

Go for it if you do it as a labor of love, knowing it’s a long shot,

that’s what Tracey says. That’s pretty much been my approach for the last sixteen years. What’s one more try this way? Satisfaction, that’s what.

 

The post Picture Book Poetry Collections appeared first on Caroline Starr Rose.

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13. Straight from the Source: Carole Estby Dagg on Writing Historical Fiction

Carole Estby Dagg worked as children’s librarian, CPA, and assistant library director before beginning to write historical fiction. Her first book, THE YEAR WE WERE FAMOUS, was based on the true story of her suffragist great-grandmother’s 4,000-mile walk with her daughter across the country in 1896. The book won the Sue Alexander Award for most promising new manuscript and went on to earn a starred review in Publisher’s Weekly, a WILLA award, and a place on the American Library Association’s 2012 Amelia Bloomer list of best feminist fiction.  She recently sold a book set in Alaska during the 1930’s to Nancy Paulsen and her imprint at Penguin, and is researching and writing a book set in the San Juan Islands during the mid-1800’s. Under the supervision of a bossy cat, she writes in Everett, WA in a converted woodshed on San Juan Island.

What Have I Done in the Name of Research?

Climbing part of the Chilkoot Trail, sewing Victorian undergarments, bidding on 115-year-old postcards on e-Bay–this is research for historical fiction? In my case, yes. For me, research isn’t just piling up reference books and printing off internet articles. Research is getting into the heads of my characters and into the times and places my characters go.

union pacific map Carole Dagg
For each book, I start with background reading to familiarize myself with the period, speech patterns, and interests of people of the time. For The Year We Were Famous, about Clara and Helga Estby’s walk across the country in 1896, I read about six million words of biographies of people my main characters met, diaries of people similar to my characters, popular books–including dime novels–of the time, women’s magazines of the 1890‘s and histories and geographies of places they passed through. As I began to write, I researched the details I need for each scene, such as the elevation of the pass through the Blue Mountains, the history of Underwood typewriters. frontier treatments for blisters, or the eating habits of cougars. I studied old railroad maps to work out a plausible day-by-day itinerary for the whole 232-day trek and scrolled through miles of microfilms of newspapers which chronicled their walk.

Mrs. William McKinley Carole Dagg

An unlikely source, eBay, yielded detailed descriptions of antique items and period postcards of people Clara and Helga met met and places they passed through. Sometimes a postcard inspired a whole chapter, such as the one I bought of twin Cayuse papooses in their cradleboards and the one of Mrs. William McKinley in her rocking chair.

Carole Dagg

Trying to imagine what it would have been like to walk across the country, I drove part of the route my characters took, taking notes and poking in at little history museums along the way. Further getting into character, I found patterns for clothing of the 1890’s and sewed a Gibson Girl shirtwaist and Victorian under-drawers, right down the three rows of pin-tucks on the ruffles. I walked a mile in reproduction Victorian shoes, and prowled antique stores to find items such as a curling iron and match safe that were similar to the ones they carried.

For another book, I hiked what is reportedly the hardest part of the Chilkoot Trail. Since I turn 70 this year and am barely five feet tall, I sometimes had one person above me to pull and one person behind me to push, but I did it. For the book I’m working on now, I climbed a slippery 45 degree slope to peel off madrona tree bark and pick the madrona berries before the birds got them all. According to one research source. Lummi Indians made tea from the bark and mixed the berries into various dishes. If my main characters used the tea and berries, I had to know how they tasted, didn’t I?

Chilkoot trail sign Carole Dagg

By the end of my first draft, I usually have a banker’s box full of file folders. Typically, headings include chronology, character backstories, natural world, period slang, popular culture, calendars for the years the book covers, maps, transportation, period recipes, and brief biographies of historical characters. Each book also prompts folders with headings of subjects needed just for that book, such as Civil War statistics, Appalachian speech patterns, Lummi Indian tree burials, sheep guardian dogs, reef net fishing, feeding baby ravens, how to grow a champion pumpkin, sled dogs, and how to make jellied moose nose. In case you are hungry for jellied moose nose, you’ll find the recipe in Northward Ho!, coming out in 2016.

Sometimes research starts as an intrusive clump of data into a scene, but as I revise, I find ways to unobtrusively feather in bits of research in a more natural way. At the end, ninety-eight per-cent of my research never makes it directly into the book, but it has helped pull me into each scene as I write. I hope the details my research uncovers make a difference for my readers!

The post Straight from the Source: Carole Estby Dagg on Writing Historical Fiction appeared first on Caroline Starr Rose.

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14. A Free Online Course on Laura Ingalls Wilder

I’m up against a deadline, so this will be brief.

If you’re a Laura fan like I am and you haven’t heard of this amazing opportunity, let me fill you in. Pamela Smith Hill of Missouri State University is teaching a free online course about Laura starting Monday, September 22. Click here to learn more. You might have heard Laura’s long-awaited autobiography has recently released. Pamela Smith Hill is its editor.

This is a class for Laura fans and for those curious about authorship (how much of a role did daughter Rose play in the creation of the Little House series?), the fuzzy lines between historical fiction and memoir, and the complex, sometimes uncomfortable portrayal of pioneers and natives.

I’ve ordered Laura Ingalls Wilder: A Writer’s Life (South Dakota Biography) and Pioneer Girl: The Annotated Autobiography. I’ve got all the others. So looking forward to digging in!

If you’re taking the course, please let me know. I’d love to talk about it.

From the course description page:

Required Materials:

Little House In The Big Woods, Laura Ingalls Wilder, HarperCollins, 0060581808
Farmer Boy, Laura Ingalls Wilder, HarperCollins, 0064400034
Little House On The Prairie, Laura Ingalls Wilder, HarperCollins, 0064400026
On The Banks Of Plum Creek, Laura Ingalls Wilder, HarperCollins, 0064400042
Laura Ingalls Wilder: A Writer’s Life, Pamela Smith Hill, South Dakota State Historical Society Press, 097779556X

Recommended Reading:

Laura Ingalls Wilder’s Pioneer Girl: The Annotated Edition, Pamela Smith Hill, South Dakota State Historical Society Press
Young Pioneers, Rose Wilder Lane, HarperCollins, 0064406989

 

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15. Ode to a Research Notebook

I’m in the thick of the manuscript connected to this notebook. Thought it might be fun to share again!

I wrote this a few days ago in an attempt to express a piece of my writing process — the behind-the-scenes work that goes into writing historical fiction. You guys. In four years of blogging I can honestly say this is the most fun I’ve ever had in writing a blog post. Writing this poem has reminded me I need to give myself more permission to play. There is something incredibly satisfying in starting and finishing a project in one day and in experimenting with a format I’ve never used before.

Here’s to your own creative processes and the opportunity to find joy there!

I
Oh, notebook mine,
the place I gather records, thoughts
before I know the way a story winds,
unsure whether or not
I’ll need what I’ve written down,
or if the scribbling of a word will be mere passing fact,
a jot to teach, inform me of the world I’m learning,
a collection of phrases to ground
me in the things I sorely lack,
to multiply my yearning.

II
You are a place of lists,
dates, maps, quotes, sometimes a sketch,
this novelist’s definition of bliss,
my source when I long to catch
a whiff of history, a summer berry’s hue,
a sense of place, the voice of one long dead,
the temperature when kerosene solidifies –
truths I can bend and shift, make new,
and like a ball of dough transform to bread
with heat and time. You stoke the fire in my mind’s eye.

III
You are a testament to months of labor,
a tribute to half-formed thoughts and starts,
a vestibule which leads to something greater,
the fresh firsts of a future art,
a net that gathers every object nearer,
sifts and filters, groups and sorts,
until like seeds that push to germination,
truth and story blend, grow clearer:
dear notebook, you help me bring forth
a story to its liberation.

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16. Should You Take the Job?

freelance2Today’s post isn’t about writing per-say, but it is about the business of writing.

If you want to make a living as a writer at some point you’re probably going to do a little freelance work. That work may be writing an article, accepting a work-for-hire gig, or even ghostwriting. And as these opportunities present themselves you’re going to have to decide if you want the job or not. Because trust me, you aren’t going to want (or have time for) every one.

So how do you decide which jobs to accept?

I’ve been a freelance illustrator and writer for over eight years. I’ve slugged through pitfalls, failures, and soul-sucking jobs, wondering if it’s all really worth it. But one simple tool has made all the difference. Before accepting any job, I now ask myself these three questions:

1) Is the job good money? Will the client pay me what I’ve asked them to pay me?

2) Will I be working with good people?

3) Will I be creatively challenged and inspired? 

If the answer to all three of these questions is YES, then it’s a great job. I should take it!

If the answer to two of these questions is YES, then it’s a good job. It’s definitely worth considering. But, I need to decide how important the question that came up as a NO is to my current situation.

If I came up with one (or fewer) YES responses, then this isn’t a job I should take. Move on to better things!

I know it may seem odd to pass up a work opportunity. But if you take too many jobs that only fulfill one of the criteria I’ve mentioned, you’re going to burn out really quickly. The last thing you want to do is give up on something that was once your passion. Be sure to ask yourself these three questions. It will help to ensure that you always love writing.


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17. Should You Take the Job?

freelance2Today’s post isn’t about writing per-say, but it is about the business of writing.

If you want to make a living as a writer at some point you’re probably going to do a little freelance work. That work may be writing an article, accepting a work-for-hire gig, or even ghostwriting. And as these opportunities present themselves you’re going to have to decide if you want the job or not. Because trust me, you aren’t going to want (or have time for) every one.

So how do you decide which jobs to accept?

I’ve been a freelance illustrator and writer for over eight years. I’ve slugged through pitfalls, failures, and soul-sucking jobs, wondering if it’s all really worth it. But one simple tool has made all the difference. Before accepting any job, I now ask myself these three questions:

1) Is the job good money? Will the client pay me what I’ve asked them to pay me?

2) Will I be working with good people?

3) Will I be creatively challenged and inspired? 

If the answer to all three of these questions is YES, then it’s a great job. I should take it!

If the answer to two of these questions is YES, then it’s a good job. It’s definitely worth considering. But, I need to decide how important the question that came up as a NO is to my current situation.

If I came up with one (or fewer) YES responses, then this isn’t a job I should take. Move on to better things!

I know it may seem odd to pass up a work opportunity. But if you take too many jobs that only fulfill one of the criteria I’ve mentioned, you’re going to burn out really quickly. The last thing you want to do is give up on something that was once your passion. Be sure to ask yourself these three questions. It will help to ensure that you always love writing.


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18. Background Reading

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There’s plenty of plain ol’ research that goes into my writing, but sometimes I also study fiction with a specific aim in mind. Here are the novels I’ve read recently  to help me get a sense of things in my newest manuscript. (It shares nothing in common with these books — and everything.)

Okay for Now – Gary Schmidt
Adventures of Huckleberry Finn – Mark Twain
The Absolutely True Diary of a Part-Time Indian – Sherman Alexie
The Ballad of Lucy Whipple – Karen Cushman
Bo at Ballard Creek – Kirkpatrick Hill
The Westing Game – Ellen Raskin

I love how iron sharpens iron in the writing life.

 

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19. How to UP Your Word Count and Write Like a Boss! (Part 2)

Keep calm and write onGuest Post by Sheryl Scarborough

We shouldn’t be surprised or amazed when our writing suddenly starts to click. After all, this is what we’ve been practicing, perfecting, mastering and perhaps even MFA’ing, right? So it makes sense that as we grow as writers we will become more proficient. We will find our centers and words will flow.

But as all writers also know, the magic word faucet can suddenly and inexplicably develop a clog. So for those times – and regular times, too – I asked some of my successful writer friends to share their methods.

My friends publish a LOT of books and I’m predicting this blog will be relevant for some years to come, so I’m not listing their recent sales next to their names. Instead, I’m including a link to their websites where you will find the most up-to-date info on their publishing successes. Please do yourself a favor and check them out.

Kelly Barson, and Melanie Fishbane, don’t worry about word count per se but both of them try to get through a complete scene in one sitting. Then if they feel like they can go further, they do. I call this PACING YOURSELF.

The prolific Kekla Magoon, admits to not being very scheduled or orderly, but she writes up against DEADLINES so she sets daily goals for herself depending on chapters, pages and scenes. She also swears by Scrivener, saying it has enhanced her productivity. Kekla’s method seems to be GUN-TO-THE-HEAD + PROPER TOOLS = WORDS ON THE PAGE.

Carrie Jones, sets ridiculously low word count goals for drafting, then celebrates when she goes beyond that goal. She also points out that failure to meet her goals would result in starvation, so there is that. I’m calling Carrie’s method SURVIVAL as MOTIVATION.

Kristen Kittscher is another author/friend who advocates SCRIVENER. “Scrivener helped me speed up immensely because I feel freer to jump around and write where the energy is,” she says. I call this creativity freed through proper tools.  FORGET WILLIE… FREE YOUR CREATIVITY!

nanowrimo_logov101Heather Demetriios-Fehst just offered up two words – “Use SCRIVENER.”  I’ll forgive her the brevity since she has already released TWO books this year. This is the third vote for Scrivener… It’s starting to have an impact on me.

Tammy Subia did something she never thought she would do. She wrote a complete first draft of a novel in four months and she was anxious to share her secrets.

Tammy has identified three things that really worked for her and they might work for you, too.

  • One: she set weekly word goals instead of daily ones, but she kept a daily chart of what she accomplished. She said just seeing the progress each day spurred her on the next day.
  • Two: She read her first chapter to a non-writer friend who really loved it and kept asking to hear more. Consequently, she wrote more to satisfy her friend.
  • Three: this might be her most important technique of all. Tammy described feeling like this book needed to be written. She wanted the story to be told so badly she couldn’t stop writing it! I’m going to call this DRIVE (and for the record I’m picturing Nick Cage behind the wheel of a muscle car when I say this.)

PICK YOUR TECHNIQUE:

Everyone seems to employ a different technique. Below is the full list. Feel free to be creative. Try on different ones. Pick and choose. Combine two or three. Experiment and see if you can’t UP your output. And if you do… write to us and let us know.

GET A RUNNING START Hold something back for the next day
DEVELOP A ROUTINE Write everyday.
KNOWLEDGE + TIME + ENTHUSIASM Know what you’re going to write, put in the time and be excited about your story.
PACE YOURSELF One word after the other until you get to the end.
RESPECT DEADLINES You can’t blow ‘em, so you get it done.
WRITE FOR FOOD You can’t eat promises and I should’ves.
DRIVE Find a story that demands to be written.
KEEP A WORD COUNT Set word count goals, daily or weekly. It piles up.
USE SCRIVENER Yay for sophisticated writer tools.

As for Scrivener – I’m going to buy it and use Scrivener for my revision process. I will report back in my next blog.

Here are some Scrivener tutorials that came up in a search on Youtube.com. I haven’t looked at any of them yet… but I plan to.

Sheryl_Quote

Be sure to read the first half of this amazing two-part series: How to UP Your Word Count and Write Like a Boss! (Part 1)

More guest posts by Sheryl:

Sheryl Scarborough - Photo by Russell Gearhart PhotographyOver the years, Sheryl Scarborough has written: TV series, cartoons, comic books, graphic novels, magazine articles, Business Plans, Direct Music Marketing letters (as Mariah Carey, MC Hammer and others), Corporate Newsletters and Restaurant and Theater Reviews (for free food and great seats!) Now she writes what she really loves which are YA mysteries and thrillers.

Follow Sheryl on Twitter: @scarbo_author

Read more by Sheryl on her blog: Sheryl Scarborough Blog

 


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20. There is No Schedule

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If you’ve been around here for any length of time, you know my friend  J. Anderson Coats says a lot of things that resonate with me. She’s the one who gave me my favorite piece of writing advice and came up with that great cow-through-a-colander writing metaphor.

During a recent email exchange with my Class of 2k12 friends, Jillian shared this:

A writing career is not a sprint. It’s a marathon. You’re not on a schedule. There is no schedule.

That first part, I’ve probably heard it a thousand times. But the second part? It felt like a revelation. It’s true that when you’re on deadline you most certainly have a schedule, but otherwise, the writing life is wide open.

So you know what?

  • If there’s no schedule, someone else isn’t going to beat you to the punch. What you’re working on now will not somehow be replaced by someone else’s (faster) efforts.
  • The market isn’t in charge of your story. You are.
  • For you published folks, you will not be forgotten if you somehow don’t get to keep some “regular” publishing schedule. Yes, your readers might age out, as they say, but there are always new readers to take their place and earlier books to introduce readers to the new ones, whenever they happen to be published.
  • Unless you’re contractually committed, you can write whatever you want whenever you want.
  • And there’s what author/illustrator Ruth McNally Barshaw (my niece’s former Girl Scout leader!) posted on Facebook a few days ago:

Repeated themes I heard at the writer-illustrator conference in LA: Slow down. Take time to do your best work. When you think it’s done, set it aside to assess again later. Build on what you borrow. Be courageous — do work you find important, no matter what others say. LIVE so you’ll have a rich portfolio of experiences to draw and write from. What gets your next book published isn’t luck, desperation, a magic shortcut, or networking with stars; it’s your hard work, your being ready to jump at sudden opportunities, and your connections with friends. #SCBWI14

Here’s to approaching your writing with freedom in the days ahead!

 

 

 

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21. Reading About Writing, A Mid-Year Update

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I declared 2014 the year to learn about writing and committed to quite the list of non-fiction (which I only can read in small doses). How have I done so far? I’ve read a grand total of two.

Walking on Water: Reflections on Faith and Art – Madeleine L’Engle

Writing Irresistible Kidlit: The Ultimate Guide to Crafting Fiction for Young Adult and Middle Grade Readers– Mary Kole

Of course, I re-read large portions of Second Sight and Novel Metamorphosis  for the Novel Revision class I taught in the spring. I also raced through The War of Art , which didn’t make the list back in January. Same with Advanced Plotting, which I also forgot to add. And I’ve read lots and lots of fiction, which I can’t help but learn from, (two recent titles I picked up to study character — The Absolutely True Diary of a Part-Time Indian and Okay for Now – completely knocked my socks off).  As for my list, I’m a little behind. It’s time to jump back in!

Any books on writing you’re planning to read this year?

 

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22. Querying 101

mailboxIn recent months I’ve received a lot of emails from many of you! I love mail, and thank you for contacting me to say hello. There’s been a great influx of new traffic lately and I’m really excited to chat, share, and discuss writing with you all!

However, I must admit, I’ve been confused by the growing number of novel query letters I receive. I say this because I’m not an agent, editor, or book publisher.

I’m an author.

Yes, I also do manuscript critiques to help writers hone their craft and prepare for querying. But, I’m not an editor at a publishing house. So, I’m always a little stumped when I receive a query letter, because I’m not in any position to actually publish my blog-reader’s books.

The more I thought about this, the more I’ve come to realize the problem lies in a lack of information on who you should actually send your query to. And since this blog is all about sharing information, I can help in this regard!

Who Should You Query?

The objective of a query letter is to get an agent or editor to request your book and consider you for representation and/or publication. However, that doesn’t mean you do a Google search for agents and editors, and blanket the market with your query. You need to target your letter to the proper individuals. Otherwise, you’re going to get an inbox full of rejection letters that have nothing to do with the quality of your book.

So how do you find the perfect agents and editors to query?

1) Decide if You Want an Agent

Do you want an agent? Or do you want to submit, negotiate, and work directly with a publisher yourself? I personally went the agent route, because frankly, I want to write and not worry about the business side. But there are plenty of authors who do it on their own without representation.

If you’re undecided, check out these great articles:

** If you decide you don’t want an agent, insert the word editor into the below steps.

2) Find Agents That Represent What You Write

Lit Agents bookThe number one reason your query letter is getting rejected, is because you’re sending it to someone who doesn’t represent what you write. You shouldn’t send a query for your gritty adult Noir to an agent who primarily represents picture book authors. Before you query, research and create a list of agents that represent books like yours!

How to Create Your Agent List:

  • Go to Literary Agency Websites and read the agent bio pages. These list agent book preferences, authors they currently represent, and genres they’re interested in.
  • Query Tracker.net – This is a fantastic resource. Start by searching their giant list of agents by genre. Then learn about query turnaround times, preferences, and more.
  • Writers Digest: Guide to Literary Agents – Pick up the current edition of this book (or check out their blog), to see what agents are currently looking for.
  • Book Acknowledgements – Look in the acknowledgement section of books similar to yours. See if the author has thanked his or her agent. This is a great way to find agents that represent work in your genre and age level.
  • Publisher’s Marketplace – Get a paid subscription to Publisher’s Marketplace and you can search agents to see who they represent and current deals they’ve made.

3) Research Agent Book Preferences

indexSo much of this business is about taste. An editor or agent can pass on your book based on taste alone. Give your book the best chance by researching what kind of books your list of agents like to read. Narrow your list by finding the agents interested in your specific genre and story-type. For example, you’ll find a lot of agents who represent young adult books, but do they like contemporary romantic YA or gritty sci-fi YA? You may have written the best young adult war epic of all time, but if you query an agent who isn’t interested in historical fiction… you’re going to get a rejection letter.

How to Narrow Down Your Agent List:

  • Read interviews, articles, and blog posts – Agents do a ton of interviews online. Others have their own blogs outlining their query wish lists. Using the list you made from step 2, start to read articles and blogs about these agents to get a better sense of their book tastes.
  • Literary RamblesIf you’re looking for a children’s book agent, Literary Rambles has an outstanding resource for you. Casey McCormick and Natalie Aguirre have rounded up hundreds of interviews, articles, and blog posts, and organized them by agent. Click through their agent list to read highlights from articles all over the internet.
  • Go to Conferences – Agents and editors love to speak at writing conferences. This is a great way for you to see their personalities, hear them talk about books they love, and to get a feel for if they’d be a good fit for you.

4) Craft Your Query Letter

Now that you have a list of 5 to 20 agents, create a query letter targeted toward them. I’ve written many posts on how to craft a query letter. So be sure to check out the links below.

How to Write a Query Letter:

emb5) Send Out Your Query Letter

Now that you have a small, targeted list for querying, start sending out your queries. I suggest keeping a spread sheet on which agents you’ve submitted to and the date of submission. Some agents have No Response Means No policies.  Using a spreadsheet will help you to keep track of those responses.

Every time you get a rejection, send out three more query letters! Querying can be a numbers game. Remember that so much of this is about taste. You don’t need everyone to love you. You just need that one agent or editor to love you!

Querying can be a difficult and grueling process. Keep researching, adding more agents to your list, and sending out queries. Keep the faith!

There’s a ton of great information on the internet on how to find an agent and create a successful query letter. This can be a rabbit hole and a big time-suck, but you put in the time to write your book, be sure to put in the time to research agents as well!

Hungry for more? Try these great links:


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23. Querying 101

mailboxIn recent months I’ve received a lot of emails from many of you! I love mail, and thank you for contacting me to say hello. There’s been a great influx of new traffic lately and I’m really excited to chat, share, and discuss writing with you all!

However, I must admit, I’ve been confused by the growing number of novel query letters I receive. I say this because I’m not an agent, editor, or book publisher.

I’m an author.

Yes, I also do manuscript critiques to help writers hone their craft and prepare for querying. But, I’m not an editor at a publishing house. So, I’m always a little stumped when I receive a query letter, because I’m not in any position to actually publish my blog-reader’s books.

The more I thought about this, the more I’ve come to realize the problem lies in a lack of information on who you should actually send your query to. And since this blog is all about sharing information, I can help in this regard!

Who Should You Query?

The objective of a query letter is to get an agent or editor to request your book and consider you for representation and/or publication. However, that doesn’t mean you do a Google search for agents and editors, and blanket the market with your query. You need to target your letter to the proper individuals. Otherwise, you’re going to get an inbox full of rejection letters that have nothing to do with the quality of your book.

So how do you find the perfect agents and editors to query?

1) Decide if You Want an Agent

Do you want an agent? Or do you want to submit, negotiate, and work directly with a publisher yourself? I personally went the agent route, because frankly, I want to write and not worry about the business side. But there are plenty of authors who do it on their own without representation.

If you’re undecided, check out these great articles:

** If you decide you don’t want an agent, insert the word editor into the below steps.

2) Find Agents That Represent What You Write

Lit Agents bookThe number one reason your query letter is getting rejected, is because you’re sending it to someone who doesn’t represent what you write. You shouldn’t send a query for your gritty adult Noir to an agent who primarily represents picture book authors. Before you query, research and create a list of agents that represent books like yours!

How to Create Your Agent List:

  • Go to Literary Agency Websites and read the agent bio pages. These list agent book preferences, authors they currently represent, and genres they’re interested in.
  • Query Tracker.net – This is a fantastic resource. Start by searching their giant list of agents by genre. Then learn about query turnaround times, preferences, and more.
  • Writers Digest: Guide to Literary Agents – Pick up the current edition of this book (or check out their blog), to see what agents are currently looking for.
  • Book Acknowledgements – Look in the acknowledgement section of books similar to yours. See if the author has thanked his or her agent. This is a great way to find agents that represent work in your genre and age level.
  • Publisher’s Marketplace – Get a paid subscription to Publisher’s Marketplace and you can search agents to see who they represent and current deals they’ve made.

3) Research Agent Book Preferences

indexSo much of this business is about taste. An editor or agent can pass on your book based on taste alone. Give your book the best chance by researching what kind of books your list of agents like to read. Narrow your list by finding the agents interested in your specific genre and story-type. For example, you’ll find a lot of agents who represent young adult books, but do they like contemporary romantic YA or gritty sci-fi YA? You may have written the best young adult war epic of all time, but if you query an agent who isn’t interested in historical fiction… you’re going to get a rejection letter.

How to Narrow Down Your Agent List:

  • Read interviews, articles, and blog posts – Agents do a ton of interviews online. Others have their own blogs outlining their query wish lists. Using the list you made from step 2, start to read articles and blogs about these agents to get a better sense of their book tastes.
  • Literary RamblesIf you’re looking for a children’s book agent, Literary Rambles has an outstanding resource for you. Casey McCormick and Natalie Aguirre have rounded up hundreds of interviews, articles, and blog posts, and organized them by agent. Click through their agent list to read highlights from articles all over the internet.
  • Go to Conferences – Agents and editors love to speak at writing conferences. This is a great way for you to see their personalities, hear them talk about books they love, and to get a feel for if they’d be a good fit for you.

4) Craft Your Query Letter

Now that you have a list of 5 to 20 agents, create a query letter targeted toward them. I’ve written many posts on how to craft a query letter. So be sure to check out the links below.

How to Write a Query Letter:

emb5) Send Out Your Query Letter

Now that you have a small, targeted list for querying, start sending out your queries. I suggest keeping a spread sheet on which agents you’ve submitted to and the date of submission. Some agents have No Response Means No policies.  Using a spreadsheet will help you to keep track of those responses.

Every time you get a rejection, send out three more query letters! Querying can be a numbers game. Remember that so much of this is about taste. You don’t need everyone to love you. You just need that one agent or editor to love you!

Querying can be a difficult and grueling process. Keep researching, adding more agents to your list, and sending out queries. Keep the faith!

There’s a ton of great information on the internet on how to find an agent and create a successful query letter. This can be a rabbit hole and a big time-suck, but you put in the time to write your book, be sure to put in the time to research agents as well!

Hungry for more? Try these great links:


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24. Why Word Count Doesn’t Always Tell the Whole Story

word count

I’ve written here before about word count goals and how tricky they can be for a verse novelist like me. While my friends are cranking out 2,000 words on a bad day, I’m often lucky if I can hit 300 on a good one. Usually I don’t keep record of these sorts of things.

Unless I am, like when I tried my own version of National Novel Writing Month last year. The draft was absolutely awful, but the experience was a good one. It helped me realize fast and furious can sometimes be as beneficial in my writing life as slow and steady.

I’m working on that messy NaNo manuscript now. It’s due to my editor at the end of the month. The book is prose, and while it’s my third novel written this way, it’s the first non-verse novel I’ve ever sold. That’s made me fret a bit. I’m not sure if I know how to do what I’m doing. But isn’t that a hallmark of the writing life?

When I started back with the story, I thought it might be wise to keep a record of my progress. I set up a chart, all ready to watch my word-count numbers grow. But they didn’t, not really. Even as I moved forward, sometimes those numbers stood still or even found a way to travel on a backward path. So it was interesting to read at Project Mayhem a few weeks ago that many writers aren’t fans of using word count as a way of marking progress, either.

What do you writers out there think of word count goals?

PS – Those aren’t tears on my chart — just water that dripped off my cup. Promise!

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25. On Writing

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The act of putting pen to paper encourages pause for thought, this in turn makes us think more deeply about life, which helps us regain our equilibrium.
- Norbet Platt

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