Posts
Now that the new year has arrived, I find that I must do something about the resolutions I made on December 31 (after a few too many glasses of champagne, I might add.) One of those resolutions - maybe the hardest one - was do something with this blog.
Something...anything!!
Looking back, I see that I made a huge mistake when tackling the blog thing. That is, the name. The very sight of it makes me cringe: Writing Advice for the Absolute Newbie... What was I thinking? After all, I'm the newbie!
Because of the obnoxious title, I beat my head against the wall every time I want to create a post. I feel a great deal of pressure to give all of this wonderful advice when, the truth is, I don't have a clue about what it takes to be a highly successful writer. After all, if I did, I'd be on the NYT best seller list.
But beyond all of that, I do enjoy blogging. Mostly because I like writing in any form. But there's also the added bonus of seeing that I have 'followers' (which is a strange word to use since it makes me feel like a cult leader or something.) I also love the comments people leave (the nice ones anyhow). And I love reading your blogs as well!
So the blog - despite it's wickedly pretentious name - continues on. More than likely without much advice.
Unless I drink too much champagne, that is.
Showing posts with label writing advice. Show all posts
Showing posts with label writing advice. Show all posts
Tuesday, January 5, 2010
Thursday, September 10, 2009
Stay Fresh
Living in the moment is important; writing for the moment is not. Good writers give their writing staying power. That is, they work to make sure that what they write sounds as current to a reader today as it will to a reader in twenty years.
There is a tendency among some writers (and I lay claim to this fault as well!) to insert such things as brand names or current iconic figures in their writing. I think this is an attempt to connect with the readers, and to make the fiction seem very 'now' and 'current'. But what seems hip and new and oh-so-cool right now will be passe and dated and completely out of vogue in a very short time.
For example, let's say that a writer five years ago, wanting to be current, writes the following:
Tom turned off the television, sick of the Hurricane Katrina coverage. There was so much tragedy in the world, so many people suffering! Not that his family cared. His middle daughter was pouting because he wouldn't let her go to the movie with her friend so that they would worship their idol, Hillary Duff. And his son was already begging him for a Nintendo DS, and the toy hadn't even been released in the U.S. yet! His kids had no idea how good they had it.
Now, let's try that with all of the trendy parts removed:
Tom turned off the television, sick of watching the news. There was so much tragedy in the world, so many people suffering! Not that his family cared. His middle daughter was pouting because he wouldn't let her go to the movies with her friend. And his son was already begging him for a video game that wouldn't be released in the U.S. for another month. His kids had no idea how good they had it.
Which of these scenarios sounds more current? The first one, with all of the references to pop stars and news headlines, definitely reads like it was written in 2004. The other one would have been current in 2004, 2009, and - unless things change drastically - 2020.
Whenever possible, leave out references to current cultural trends, news stories, and even brand names because when you do, you are placing a big 'sell by this date' sticker on your work. In this world, things change in a heartbeat. What sounds current now will only sound dated by the time your work is published.
Unless you are writing a period piece, you you don't want to date your writing. period.
There is a tendency among some writers (and I lay claim to this fault as well!) to insert such things as brand names or current iconic figures in their writing. I think this is an attempt to connect with the readers, and to make the fiction seem very 'now' and 'current'. But what seems hip and new and oh-so-cool right now will be passe and dated and completely out of vogue in a very short time.
For example, let's say that a writer five years ago, wanting to be current, writes the following:
Tom turned off the television, sick of the Hurricane Katrina coverage. There was so much tragedy in the world, so many people suffering! Not that his family cared. His middle daughter was pouting because he wouldn't let her go to the movie with her friend so that they would worship their idol, Hillary Duff. And his son was already begging him for a Nintendo DS, and the toy hadn't even been released in the U.S. yet! His kids had no idea how good they had it.
Now, let's try that with all of the trendy parts removed:
Tom turned off the television, sick of watching the news. There was so much tragedy in the world, so many people suffering! Not that his family cared. His middle daughter was pouting because he wouldn't let her go to the movies with her friend. And his son was already begging him for a video game that wouldn't be released in the U.S. for another month. His kids had no idea how good they had it.
Which of these scenarios sounds more current? The first one, with all of the references to pop stars and news headlines, definitely reads like it was written in 2004. The other one would have been current in 2004, 2009, and - unless things change drastically - 2020.
Whenever possible, leave out references to current cultural trends, news stories, and even brand names because when you do, you are placing a big 'sell by this date' sticker on your work. In this world, things change in a heartbeat. What sounds current now will only sound dated by the time your work is published.
Unless you are writing a period piece, you you don't want to date your writing. period.
Saturday, June 20, 2009
Make Yourself Invisible
As writers, we are, at times, tempted to show off our skill. We want to write that amazing word picture of the windswept coastline or give a detailed description of our favorite character. We are artists, and words are our medium...
Okay, let's get real. Yes, writers use words to create pictures for their readers, but they also use words to tell stories. Too much description, however, will bog down a story; it may even stop it in its tracks. Personally, I'll take a well-written descriptive sentence over a lumbering paragraph every time. Maybe that makes me a cretin, I don't know. But what I do know is that I'm not alone in this opinion.
Today, the editing blog The Blood-Red Pencil posted a link to an essay written by Elmore Leonard entitled "Easy on the Hooptedoodle". Some of the hints include not opening with a discussion on the weather, not going into too much detail in our character descriptions, and not to use words like 'suddenly'. If you are unfamiliar with Leonard's work, I highly recommend picking up one of his books. His prose is tightly written and full of action yet contains vivid descriptions and interesting characters. The man is a terrific writers and knows what he's talking about in this essay!
Putting your thumbprint squarely on your manuscript is as bad of an idea as putting it in the middle of the pie you just baked. You might appreciate it, but others probably will not.
Okay, let's get real. Yes, writers use words to create pictures for their readers, but they also use words to tell stories. Too much description, however, will bog down a story; it may even stop it in its tracks. Personally, I'll take a well-written descriptive sentence over a lumbering paragraph every time. Maybe that makes me a cretin, I don't know. But what I do know is that I'm not alone in this opinion.
Today, the editing blog The Blood-Red Pencil posted a link to an essay written by Elmore Leonard entitled "Easy on the Hooptedoodle". Some of the hints include not opening with a discussion on the weather, not going into too much detail in our character descriptions, and not to use words like 'suddenly'. If you are unfamiliar with Leonard's work, I highly recommend picking up one of his books. His prose is tightly written and full of action yet contains vivid descriptions and interesting characters. The man is a terrific writers and knows what he's talking about in this essay!
Putting your thumbprint squarely on your manuscript is as bad of an idea as putting it in the middle of the pie you just baked. You might appreciate it, but others probably will not.
Saturday, June 6, 2009
Plot Progressions
Making readers want to read on, that's the writer's goal. No one wants to have their readers stop halfway through the book or story. Surprise endings are one way to create tension (though not a very good way.) So is dramatic irony. A third method is plot progression.
Plot progressions are a type of dramatic irony in that the audience is clued in to what is coming next. The story starts with a small action, repeats that action on a somewhat larger scale, and then repeats the action again with even greater consequences (and a greater payoff for the reader). Readers are kept on the hook because they can see where this course of action is leading (even if the protagonist cannot).
There are many, many examples of this kind of plot (in fact, I challenge you to come up with your own examples!), but my favorite comes from Stephen King's Pet Cemetery. (Warning: spoilers follow!)
Pet Cemetery centers around the idea that dead bodies buried in a secret Native American burial site will come back to life. Well, 'life' in a reanimated corpse kind of way. The plot begins with the death of a student; a person who is only marginally associated with the protagonist, Dr. Louis Creed. But this action makes Creed begin thinking about death and his own philosophy of the afterlife. Next, Creed's elderly neighbor dies, and the doctor gets a more personal look at the tragedy. A while later, Creed's daughter's cat dies and the doctor, unable to bear his child's sorrow, buries the cat in the enchanted cemetery. The results are disastrous, and he vows to never do it again. But then his son dies...
Looking at this progression, you can see how King builds the tension and intensifies the payoff. Sure, the audience has a pretty good idea of what is going to happen, but they can't wait to read it. Like watching an impending car wreck, you can't tear your eyes away.
Plot progression can be as simple as a fairy tale (which is the basis for such stories as Goldilocks and the Three Bears and Jack and the Beanstalk) or as complex as a Stephen King novel, but it is a terrific way to keep your readers involved in your story.
Plot progressions are a type of dramatic irony in that the audience is clued in to what is coming next. The story starts with a small action, repeats that action on a somewhat larger scale, and then repeats the action again with even greater consequences (and a greater payoff for the reader). Readers are kept on the hook because they can see where this course of action is leading (even if the protagonist cannot).
There are many, many examples of this kind of plot (in fact, I challenge you to come up with your own examples!), but my favorite comes from Stephen King's Pet Cemetery. (Warning: spoilers follow!)
Pet Cemetery centers around the idea that dead bodies buried in a secret Native American burial site will come back to life. Well, 'life' in a reanimated corpse kind of way. The plot begins with the death of a student; a person who is only marginally associated with the protagonist, Dr. Louis Creed. But this action makes Creed begin thinking about death and his own philosophy of the afterlife. Next, Creed's elderly neighbor dies, and the doctor gets a more personal look at the tragedy. A while later, Creed's daughter's cat dies and the doctor, unable to bear his child's sorrow, buries the cat in the enchanted cemetery. The results are disastrous, and he vows to never do it again. But then his son dies...
Looking at this progression, you can see how King builds the tension and intensifies the payoff. Sure, the audience has a pretty good idea of what is going to happen, but they can't wait to read it. Like watching an impending car wreck, you can't tear your eyes away.
Plot progression can be as simple as a fairy tale (which is the basis for such stories as Goldilocks and the Three Bears and Jack and the Beanstalk) or as complex as a Stephen King novel, but it is a terrific way to keep your readers involved in your story.
Sunday, May 31, 2009
Rules for Writing
I love to poke around on the Absolute Write Water Cooler. Mostly, I hang around the scifi/fantasy genre boards, but lately I've ventured out into the novels section. I'm not sure why I've never run across this before, but today I found some excellent posts by author, James D. MacDonald.
When I read this one, I just knew that I had to post it. So here it is, 'Uncle Jim's Twenty-five Simple Steps to Becoming an Author':
Rules for Writing
There are twenty-five simple steps to becoming a published author.
Here are the steps:
1. Black ink on white paper.
2. Place your name and address in the top left-hand corner of the first page.
3. Place the title and byline, centered, half-way down the first page.
4. Put a running head (your name, the title, and a page number) in the top right hand corner of every page.
5. Your pages should have one-inch margins.
6. Doublespace your text.
7. Use Courier 10 or Courier 12 only.
8. Type on one side of the paper only.
9. Continue until you reach "The End."
10. Rewrite.
11. Rewrite.
12.....21. Revise
22. Obtain the guidelines for a market that accepts material similar to what you have finished.
23. Follow the guidelines scrupulously when you submit your material.
24. While you are waiting for your rejection slip, start again back at step 1 for your next work.
25. When the rejection slip arrives, send the manuscript to the next market on your list, that same day.
Okay, maybe these steps aren't as simple as they sound (but what worthwhile thing ever is?). But this is heck of a good bit of advice.
I, for one, am going to do my best to follow the plan.
When I read this one, I just knew that I had to post it. So here it is, 'Uncle Jim's Twenty-five Simple Steps to Becoming an Author':
Rules for Writing
There are twenty-five simple steps to becoming a published author.
Here are the steps:
1. Black ink on white paper.
2. Place your name and address in the top left-hand corner of the first page.
3. Place the title and byline, centered, half-way down the first page.
4. Put a running head (your name, the title, and a page number) in the top right hand corner of every page.
5. Your pages should have one-inch margins.
6. Doublespace your text.
7. Use Courier 10 or Courier 12 only.
8. Type on one side of the paper only.
9. Continue until you reach "The End."
10. Rewrite.
11. Rewrite.
12.....21. Revise
22. Obtain the guidelines for a market that accepts material similar to what you have finished.
23. Follow the guidelines scrupulously when you submit your material.
24. While you are waiting for your rejection slip, start again back at step 1 for your next work.
25. When the rejection slip arrives, send the manuscript to the next market on your list, that same day.
Okay, maybe these steps aren't as simple as they sound (but what worthwhile thing ever is?). But this is heck of a good bit of advice.
I, for one, am going to do my best to follow the plan.
Saturday, May 16, 2009
The Shocking Truth about Shocking Endings
"...and you won't believe the shocking ending!!!"
How many times have you heard this on television? Nearly every week, some show or another is promising its viewers an ending they won't believe. Or can't imagine. Or will be shocked by.
Yawn.
Sure, surprise endings have their place, but they've been way overused of late. Unexpected surprise endings might work in a short story or a television show, but a very good surprise ending is very difficult to write. Why?
1) In many cases, the audience is expecting it. Most people, when reading a story, are working to forecast the direction of the plot (Where is this story going? What's going to happen next?). This means that, aside from children (who are more of a pure audience due to their lack of experience), most readers will spot a 'surprise' ending a mile away. And, believe me, there is nothing worse than a surprise ending that falls flat.
2) Because of #1 above, writers must reach farther and farther for an ending that will actually surprise the readers. This means that, in many cases, surprise endings are becoming more and more improbable. Some even reek of deus ex machina.
3) Surprise endings often fall into the realm of cliche. Joe Bob thinks that everyone has forgotten his birthday, but all of his friends were merely planning a surprise party for him. Mary Jane thinks her boyfriend is cheating on her because he's out all night, but - wow! - he's really a vampire. Little Billy is being chased by a huge monster, but - surprise!! - he wakes up and finds out that it is all a dream.
Again, there is nothing worse than a surprise ending that is no surprise. There are much better ways to build tension in your fiction. Over the next few posts, I'm going to explore some of these ways. There. I've told you what I plan to do and, therefore, have spoiled the surprise. On purpose.
Saturday, March 21, 2009
Back it Up
Always keep an extra copy of your work. Always.
You would think that this piece of advice is so obvious that it needn't even be mentioned; however, I have to admit that I have often neglected to do this.
A few years ago, I received a long-awaited letter from a publisher that I had queried asking for a complete manuscript. Of course, I was ecstatic and wanted to send the novel back to them as quickly as possible. When I went to print the pages, however, I couldn't find the final two chapters. Panicked, I searched the hard-drive of my computer, the disks that I'd saved to (okay, it was more than a few years ago!), and even the hard copies that I'd printed off earlier. Nothing. So I had to scramble to reconstruct the final pages of the book. Because a year had elapsed since the initial query and the request for the complete manuscript, I had forgotten much of what I had originally written, and I had to improvise. That is a week I hope that I never have to relive!
I wish I could say that was my only experience with not properly backing up my work, but it wasn't. I've made the same mistake again (with the same results!) But I'm hoping that you learn from my mistakes. Back up frequently.
Backing up data can be deceptively simple. After all, what's easier than plugging a junk drive into your computer and then dragging the files from your desktop onto the junk drive? And yet, this is how mistakes get made. Replacing one file with another of the same name is a sure-fire way to get yourself into trouble. Not only may you unwittingly erase the file you intended to save but, more commonly, you will end up deleting your writing history. That is, you erase the trail of edits that you've made from your original story to your current document.
For example...
Let's say that you are working on the story, "Mary in the Snow". On Monday, you write three pages. On Tuesday, Wednesday, and Thursday, you write nothing. Then the next five days, you work some more on your story, changing the introduction, the names of the characters, and so forth. Now another week elapses, and you're having second thoughts. Should you have made the changes to the characters' names? Should you have changed the introduction? If you've simply saved one copy of the story over and over again, you can't go back to read what you initially wrote. That information is lost.
My recommendation is to save the story each time you work on it, using a different name to mark your progress. For example, "MarySnow_3-21-09" and "MarySnow_3-22-09" and so forth. This way, if you want to look back at something you wrote, you can easily do so.
The downside to this is that it takes up a lot of space on your hard drive (or junk drive). But, unless you are 100% confident that you will never be needing those earlier pieces, backing up in this fashion is the best way to go.
Learn from my mistakes! Back up your work. Use a junk drive to keep your files and keep a second junk drive in a secure location (I have a fire-proof safe that I use). Sound paranoid? It just might be. But isn't it worth keeping all of those hours worth of work safe?
Now, if you'll excuse me, I need to go back up my files.
Thursday, March 19, 2009
Writing Contests
Back when I was first beginning to write, I entered a short story contest sponsored by The Writer magazine. I paid the fee, mailed my story, and waited for my prize. Yes, I was just that green and that vain to think that my work would actually win. Needless to say, it didn't. The story, I now realize, was terrible in the way that only first stories can be; however, since that time, I've never entered another contest.
But I have been curious about them. Many times, after reading the bio of an author who has won a prize, I've wondered if I should enter a contest again. Certainly the credentials of winning a contest gives an author's credentials a boost. And in some instances, prize-winning entries are printed in anthologies.
Part of the problem with contests, however, is trying to find them. Usually, you run across information on a contest after the deadline has passed. Additionally, it is easy to get sucked into scams posing as competitions in which writers are pressured into buying an anthology of the contest's 'winners'. That's where Moira Allen's, Writing to Win: the Colossal Guide to Writing Contests enters in.
Generally, it is my philosophy to not pay for what you can get for free. That is why, in previous posts, I've recommended visiting online sources for market information as opposed to subscribing to a magazine or buying a book. However, I have yet to find an online compendium of writing contests that compares to the one compiled by Ms. Allen. Because its listing are organized by writing type (poetry, short fiction, nonfiction, books, scripts and screenplays) and also by deadline (so that the author knows when to submit her work), Writing to Win is easy to use. And, with over three-hundred pages of listings, the book is probably as close to comprehensive as any resource like this can be.
Writing to Win isn't just about listing contests; it offers plenty of good advice about how to prepare a story for submission as well pointers on how to determine whether a competition is legitimate or not. The book doesn't claim to offer writers a 100% guaranteed way to win (I wouldn't recommend it if it did!), but what it does do is shed some light on how contests work and how writers can best present their work. If you are at all interested in entering writing competitions, then I recommend this book.
___________
Writing to Win: the Colossal Guide to Writing Contests by Moira Allen, is published by Vinegar Hill Press, copyright 2008. The book retails for $16.95 and can be purchased by visiting CreateSpace.com at
https://www.createspace.com/3364376 or from Amazon.com
(http://www.amazon.com/Writing-Win-Colossal-Guide-Contests/dp/1441404759/)
Friday, March 13, 2009
Beta Readers - A Final Word
Maybe one of the biggest challenges regarding beta readers is where to find them. If you are one of those people who do not know any other writers, or if the writers you do know don't like the type of fiction that you write, finding a beta can be difficult.
For those who are in that situation, let me offer you two websites where you can find betas. For free!
The first is an organization called the Critters Writers Workshop. Run by Dr. Andrew Burt, science fiction author and former president of the SFWA, Critters is an online forum for science fiction, fantasy, and horror writers who are looking to have their fiction peer-edited by other writers. Many, although not all, of the writers have had their work published. A few are considered 'professional'; that is, they meet the standards of professionals as outlined by the the SFWA or the HWA.
Critters uses very strict guidelines on how this exchange of critiques takes place. Writers must critique a certain number of stories (generally, one per week) in order to have their own work reviewed. Additionally, there are rules on behavior and conduct.
I've used Critters for years and have found it to be an extremely helpful resource. I highly recommend it.
Another source for finding beta readers is at the Absolute Write Water Cooler. The advantage of Absolute Write is that it covers all types of writing, not just the speculative fiction markets. Also, those looking to have their writing reviewed are not compelled to write critiques in return. The arrangements for beta reading are worked out by the authors themselves.
Whether you are a newbie or a grizzled writing veteran, beta readers offer an invaluable service in making your writing as good as it can possibly be. I encourage everyone to look into what beta readers offer.
For those who are in that situation, let me offer you two websites where you can find betas. For free!
The first is an organization called the Critters Writers Workshop. Run by Dr. Andrew Burt, science fiction author and former president of the SFWA, Critters is an online forum for science fiction, fantasy, and horror writers who are looking to have their fiction peer-edited by other writers. Many, although not all, of the writers have had their work published. A few are considered 'professional'; that is, they meet the standards of professionals as outlined by the the SFWA or the HWA.
Critters uses very strict guidelines on how this exchange of critiques takes place. Writers must critique a certain number of stories (generally, one per week) in order to have their own work reviewed. Additionally, there are rules on behavior and conduct.
I've used Critters for years and have found it to be an extremely helpful resource. I highly recommend it.
Another source for finding beta readers is at the Absolute Write Water Cooler. The advantage of Absolute Write is that it covers all types of writing, not just the speculative fiction markets. Also, those looking to have their writing reviewed are not compelled to write critiques in return. The arrangements for beta reading are worked out by the authors themselves.
Whether you are a newbie or a grizzled writing veteran, beta readers offer an invaluable service in making your writing as good as it can possibly be. I encourage everyone to look into what beta readers offer.
Wednesday, March 11, 2009
Beta Readers: Part Two
I'm sure that everyone understand the importance of having a beta reader look over your work. Now I want to discuss the importance of being a beta reader.
Making comments on someone else's work will help you improve your own writing. Why? Well, by critically reading another's work, you are forced to pay attention to details that you might otherwise gloss over. Most of us read for pleasure, but reading as a beta goes much deeper than that. Beta reading forces you to consider the craft of writing by analyzing things such as style, plot, setting, dialogue and character.
Even if you are so new to writing that you haven't even sharpened your way through your first pencil, you should consider becoming a beta reader. If you are unsure how to begin, here are some suggestions that may help:
- Never be rude or condescending! Even if you are pointing out flaws in another's writing, you can do so in a polite, constructive manner. It doesn't matter how many years you have been writing or how many publishing credits you have; we are all in the process of learning the craft. Ruthlessly tearing down another writer's work is unforgivable.
- Be sure to give praise as well as criticism. Every bit of fiction has at least one good thing in it. If you can't find something to compliment, then you didn't look hard enough.
- Read the work several times, giving yourself time between readings to think about the story.
- Learn from other writers' mistakes. If you see something that the writer did terribly wrong, make sure to avoid that mistake in your own writing. Similarly, if you really did like something, try to figure out what made it work and then apply that skill to your work.
- Make your comments specific. No writer was ever helped by a criticism that simply said, "I didn't like your main character." Ask yourself why didn't you like that character? How might he be improved?
Over the years, I have learned as much from being a beta reader as I have from having a beta reader look over my work. Having the eye of an editor is crucial for any writer. Becoming a beta reader is one step towards that skill
Making comments on someone else's work will help you improve your own writing. Why? Well, by critically reading another's work, you are forced to pay attention to details that you might otherwise gloss over. Most of us read for pleasure, but reading as a beta goes much deeper than that. Beta reading forces you to consider the craft of writing by analyzing things such as style, plot, setting, dialogue and character.
Even if you are so new to writing that you haven't even sharpened your way through your first pencil, you should consider becoming a beta reader. If you are unsure how to begin, here are some suggestions that may help:
- Never be rude or condescending! Even if you are pointing out flaws in another's writing, you can do so in a polite, constructive manner. It doesn't matter how many years you have been writing or how many publishing credits you have; we are all in the process of learning the craft. Ruthlessly tearing down another writer's work is unforgivable.
- Be sure to give praise as well as criticism. Every bit of fiction has at least one good thing in it. If you can't find something to compliment, then you didn't look hard enough.
- Read the work several times, giving yourself time between readings to think about the story.
- Learn from other writers' mistakes. If you see something that the writer did terribly wrong, make sure to avoid that mistake in your own writing. Similarly, if you really did like something, try to figure out what made it work and then apply that skill to your work.
- Make your comments specific. No writer was ever helped by a criticism that simply said, "I didn't like your main character." Ask yourself why didn't you like that character? How might he be improved?
Over the years, I have learned as much from being a beta reader as I have from having a beta reader look over my work. Having the eye of an editor is crucial for any writer. Becoming a beta reader is one step towards that skill
Monday, March 9, 2009
Beta Readers: Part One
First off, what - exactly - is a beta reader?
A beta reader is simply a person who is willing to carefully read an unpublished work of fiction and offer constructive criticism. In writing, the beta fiction is what lies between the rough draft (the alpha manuscript) and the finished product that is submitted to the publisher. When submitting a work to a beta reader, it is the writer's responsibility to polish her manuscript as much as she can. The beta reader should be reading a complete work (that is, there should be an ending!)
Beta readers are very valuable people. Often, they can point out plot holes that you've missed or catch a misplaced or missing word. They can tell you if your characters seem realistic and if your dialogue sounds natural. Almost always, beta readers are writers themselves, so they are accustomed to thinking about such things as plot, setting, voice, and tension. They can correctly use terms like, 'speech tags' and 'protagonist'. You might have a family member or close, supportive friend who is willing to read your work, but oftentimes they do not make the best beta readers. Not only will they want to spare your feelings by telling you that your work is 'good' (even if it isn't), but they might not know exactly how you should improve your story.
My husband, for example, is an avid reader and a thoughtful, intelligent person. However, he is not a writer and is therefore a terrible beta reader; he simply can't tell me what the problems in my stories are. Having him try to advise me on writing would be like me trying to advise an auto mechanic on how to fix my car. Since I know nothing about cars, all I can do is tell them that I hear a clunking sound or feel a hesitation when I step on the gas. I certainly can't tell them were to start looking for the problem or how to fix it!
So, if you aren't already doing this, I strongly suggest that you find a beta reader. In my next post, I will tell you of some excellent online sources for beta readers as well as give advice on how to become a beta reader yourself.
A beta reader is simply a person who is willing to carefully read an unpublished work of fiction and offer constructive criticism. In writing, the beta fiction is what lies between the rough draft (the alpha manuscript) and the finished product that is submitted to the publisher. When submitting a work to a beta reader, it is the writer's responsibility to polish her manuscript as much as she can. The beta reader should be reading a complete work (that is, there should be an ending!)
Beta readers are very valuable people. Often, they can point out plot holes that you've missed or catch a misplaced or missing word. They can tell you if your characters seem realistic and if your dialogue sounds natural. Almost always, beta readers are writers themselves, so they are accustomed to thinking about such things as plot, setting, voice, and tension. They can correctly use terms like, 'speech tags' and 'protagonist'. You might have a family member or close, supportive friend who is willing to read your work, but oftentimes they do not make the best beta readers. Not only will they want to spare your feelings by telling you that your work is 'good' (even if it isn't), but they might not know exactly how you should improve your story.
My husband, for example, is an avid reader and a thoughtful, intelligent person. However, he is not a writer and is therefore a terrible beta reader; he simply can't tell me what the problems in my stories are. Having him try to advise me on writing would be like me trying to advise an auto mechanic on how to fix my car. Since I know nothing about cars, all I can do is tell them that I hear a clunking sound or feel a hesitation when I step on the gas. I certainly can't tell them were to start looking for the problem or how to fix it!
So, if you aren't already doing this, I strongly suggest that you find a beta reader. In my next post, I will tell you of some excellent online sources for beta readers as well as give advice on how to become a beta reader yourself.
Saturday, March 7, 2009
Creating Tension in Your Plot
One of the best bits of writing advice I've ever gotten (not personally, mind you!) was from a scriptwriter for the 70's television show M*A*S*H. Remember M*A*S*H? Based very loosely on Robert Altman's movie of the same title, and even more loosely on Joseph Heller's novel, Catch 22, M*A*S*H portrayed the life of doctors in a mobile army surgical hospital during the Korean War.
The show's writer, and I really wish I could remember his name, said that the best way to create tension in a plot was to take a character and put him in the place he least wants to be. Then you, the writer, sit back and watch what happens.
In the television show M*A*S*H, that meant placing the irascible, anti-establishment, pacifist surgeon Hawkeye Pierce in the highly regimented US army, far away from his beloved Crabapple Cove, Maine. Many of the show's episodes revolved around Hawkeye's rebellion against authority, his frustration over army regulations, and his struggle to remain sane in an insane environment.
I guess the lesson to be learned here is to not make your characters too comfortable. The unfortunate truth is that fiction without conflict is not very interesting. I doubt that a television show about a man sitting in an easy chair drinking lemonade and reading the newspaper would have won fourteen Emmys and ran for eleven years.
Thursday, March 5, 2009
Multiple Subs vs. Simultaneous Subs
What's the difference?
This was one of my first newbie questions, and for a while - even after I knew the answer - I was still confused. Call me slow, but the concept didn't really sink in until I started submitting manuscripts in earnest. So, in case you are also confused, here's the low-down:
Multiple submissions:
This means that you are submitting more than one story (poem, novel, whatever) to the same market at the same time. Or that you are submitting a work to a magazine (publishing company, agent) when you already have one waiting in their slush pile. So let's say, for example, that you've mailed your short story, The Flight of the Walrus, to the magazine The Walrus Review. If you turn around the next day and mail a second story to this same market, then you are submitting multiple stories.
Generally, most markets frown on multiple submissions (although poetry is sometimes an exception). Read the submission guidelines carefully before sending in your work. Some markets even have a policy that states an author should wait a certain length of time between submissions.
Simultaneous submissions:
This takes place when you send a single story (novel, poem, whatever) to more than one market. So, using the previous example, you send your short story, The Flight of the Walrus, not just to The Walrus Review but also to Walrus Weekly and Walrus World.
Most of the time it is okay to send your work out to more than one market. It certainly can save time! But it is considered proper etiquette to let the markets know that you are doing this. You needn't tell them precisely where you are sending your work, but at least mention it in your query letter (something along the lines of, "I'm considering other markets" or "I have submitted this piece to other magazines as well as yours").
A caveat, however...
If you are submitting to a short story market, it is usually best to simply submit to one magazine (e-zine, anthology) at a time. Yes, it does mean you will have to wait longer for a reply, but most of these markets won't waste their time with simultaneous subs (especially when a new author is involved). The website Writing World has an excellent discussion on this, if you're interested.
The best time to use simultaneous submissions is when submitting a novel to an agent. But, again, it is very important to let the agent know that you are doing this.
This was one of my first newbie questions, and for a while - even after I knew the answer - I was still confused. Call me slow, but the concept didn't really sink in until I started submitting manuscripts in earnest. So, in case you are also confused, here's the low-down:
Multiple submissions:
This means that you are submitting more than one story (poem, novel, whatever) to the same market at the same time. Or that you are submitting a work to a magazine (publishing company, agent) when you already have one waiting in their slush pile. So let's say, for example, that you've mailed your short story, The Flight of the Walrus, to the magazine The Walrus Review. If you turn around the next day and mail a second story to this same market, then you are submitting multiple stories.
Generally, most markets frown on multiple submissions (although poetry is sometimes an exception). Read the submission guidelines carefully before sending in your work. Some markets even have a policy that states an author should wait a certain length of time between submissions.
Simultaneous submissions:
This takes place when you send a single story (novel, poem, whatever) to more than one market. So, using the previous example, you send your short story, The Flight of the Walrus, not just to The Walrus Review but also to Walrus Weekly and Walrus World.
Most of the time it is okay to send your work out to more than one market. It certainly can save time! But it is considered proper etiquette to let the markets know that you are doing this. You needn't tell them precisely where you are sending your work, but at least mention it in your query letter (something along the lines of, "I'm considering other markets" or "I have submitted this piece to other magazines as well as yours").
A caveat, however...
If you are submitting to a short story market, it is usually best to simply submit to one magazine (e-zine, anthology) at a time. Yes, it does mean you will have to wait longer for a reply, but most of these markets won't waste their time with simultaneous subs (especially when a new author is involved). The website Writing World has an excellent discussion on this, if you're interested.
The best time to use simultaneous submissions is when submitting a novel to an agent. But, again, it is very important to let the agent know that you are doing this.
Thursday, February 26, 2009
Characterization
Creating convincing characters is obviously one of the most important skills a writer can work on. Even plot-driven stories need characters who are realistic and engaging. Details are important; you don't want to simply tell the reader what your characters are like, you want to show them as well. One way to do this is to closely consider their occupation. And by this, I don't mean to just write what they for a living, but also show the readers how the characters' jobs affect them when they are 'off the clock'.
One thing that I've noticed in real life is how much people are defined by the jobs that they do. Even when they are not on the job, they still act in ways that are related to their professions. Consider the follow examples:
I was helping a friend of mine, who is a nurse, supervise a group of small children on a field trip. Before we left, my friend advised the children to, "empty their bladders." I laughed and told her that it was such a 'nurse' thing to say! But it was true. Someone like myself, who does not work in the medical field, would have told the kids to 'go potty' or 'take a bathroom break'. But my friend, being a nurse, unconsciously reverted to her nurse parlance.
I have another friend who is a waitress. One night, we were working a charity event held at a local restaurant. I, who have never worked in a restaurant, wasn't sure what to do, but she stepped right in, seating customers, making sure everyone had a menu, and directing the rest of us to fill water glasses. This same friend will always clear the table and fetch refills when a group of us go out for coffee (though we never ask her to do this!)
My friend is married to a journalist. The funny part is that he speaks in headlines. One day he came into the house and said to me, "Well, I opened the church doors for a murderer this morning!" Then he elaborated on the story, giving me a classic example of a 'inverted pyramid' style of a news story. Because this man has written leads for news stories all his working life, this habit has infiltrated his speech
Finally, I have a neighbor who is a police officer. Not only is he far more observant than I am, he also acts as a crossing guard whenever we take the kids down to the corner bus stop. Again, he doesn't realize that he is doing this; it is simply such a part of him to be protective. It is an automatic response brought about by his police training. I am sure that if I brought it to his attention, he would be surprised.
So you see, knowing what your character does is important because it will give clues as to what kind of person he is. Even if your character isn't employed, he or she will be interested in something! Just like gardeners pay attention to other people's lawns and car lovers seem to notice the make and model of every vehicle on the roads, your characters will pay attention to those things that are important to them.
Wednesday, February 25, 2009
For Better or Worse
It’s easy to forget that writing is hard work.
Sometimes when I’m writing, my thoughts flow onto the page as smoothly as honey on toast. I don’t have to pause to think of the right words; they simply appear. I don’t stress over the details of description (something I always struggle with). My characters make me laugh out loud or get teary-eyed. The plot enchants me. When my writing is like this, I feel like I have wings, and that I’m gliding above what I have created, enjoying the view.
But, unfortunately, most of the time, I am not soaring but slogging through the desert. I struggle for words. The plot becomes an impossible snarl. My characters are stilted or, worse, caricatures spouting wooden dialogue. The descriptions are boring. At these times, I want to delete my entire hard drive.
The funny thing is that whether I struggle or not, the end result is usually about the same. When, weeks later, I go back to review what I’ve written, I can’t tell which pages came from the sweat of my brow and which ones I wrote with ease.
If you are feeling frustrated with your writing, you are not alone! Hang tough; eventually, you will reap the benefit of your diligence.
Monday, February 23, 2009
Give Me a "J" and a "YA"!! - Great Links for Writers of Children's Fiction
There are many, many great online resources for writers of science fiction, fantasy, and horror. In fact, these genres can sometimes seem to dominate the cyber-world. But what if spacemen and dragons are not your forte?
Not to fear!
Here are some terrific links that focus on the needs of children's fiction writers.
The Official Jane Yolen website - Jane Yolen, one of the most prolific writers of children's picture books, gives helpful advice to would-be writers along with links to helpful websites.
Harold Underdown - His website is chocked full of information for all kinds of writers, though he specializes in children's fiction. The article, "Getting Out of the Slushpile" should be read by everyone!
What, exactly, qualifies a book to be YA? Or J? The Write4Kids website can tell you! In addition to many great articles on writing children's fiction, this site offers tools for writers, links, and other helpful information.
Then there are the agent blogs. Here is a brief list of agents who accept children's fiction and blog:
Thursday, February 19, 2009
Free Fiction Market Listings
You've probably heard that old saying, "Why pay what you can get for free?"
Good question!
As a writer, one of the biggest challenges you'll probably face is knowing where to send your manuscripts. After all, that's the whole idea isn't? You want to get paid for your writing! When I first started as a writer (Yikes! Has is really been twenty years?), I would go the library, locate a copy (hopefully a current copy) of The Writer's Market, and try to find a market that accepted short stories. The process was time-consuming, frustrating, and irritating. Because of the transient nature of publishing, generally, the current Writer's Market was out of date before it even hit the bookstores! But now we have the Internet. The Writer's Market is still out there, but I have found much better places for market listings. The best part is, these websites offer FREE information! Here is a list of some of my very favorite sources for market listings:
- Ralan's Webstravaganza - this website offers markets for fantasy, horror, and science fiction writers. The markets are broken down by rates (semi-pro and pro rates paying at least $.03 per word and paying markets being anything less). There are also links to book publishers and anthology markets. This is one of the best sources on the web.
- The Write Market - aka the mother lode. Seriously, this site has it all - fiction and non-fiction markets, how-to information, even greeting card markets.
- Writers' Write - sometimes, genre markets get all the press, but at Writer's Write, there are listings for juvenile, literary, and young adult markets as well.
Wednesday, February 18, 2009
What Not to Write
Coming up with a fresh, new idea for a story is always a challenge. In fact, many writers (myself included) would argue that there are essentially seven basic plots and that every bit of literature from Homer's Iliad to The Dark Knight make use of these archtypes. This doesn't mean that you should give up on the idea of creating something fresh and new, however. It just means that your plot might not be as unique as you thought it was.
The editors at Strange Horizons Fiction have seen their share of overused plots. In fact, they've compiled two lists of these plots for would-be contributers to their e-zine. The first is 'Stories We've Seen too Often' and the second is 'Horror Stories We've Seen too Often'. Both of these lists are an excellent resource and offer a glimpse into the editor's point of view (sometimes a very ellusive thing.)
The point is that if the editors are telling you what they don't want to see, then trust their instincts, not yours. Relying on the hackneyed, the over-used, or the cliched will not help you get published.
Now, if you're out of ideas and feel that your creativity needs a boost, you can visit the Plot Scenario Generator. Maybe a little randomness is just what your story needs!
Sunday, February 15, 2009
Why Do You Want to Be a Writer?
Think this isn't an important question? Well, think again!
Some people envision writing as an easy path to fame and fortune. "Look out Jane Austin and J.K. Rowling! Make way for (insert name here)."
Others want to make a living doing what they love. "I love to write. I write all the time. Wouldn't it be great to get paid to do something I'm doing already for free?"
Then there are those who feel that they don't have anything else to do. "I lost my job; what else am I going to do but write?" Or... "I'm graduating from high school in four months, I need to find a way to make a living." Or... "My kids are grown up, and I need a hobby. Writing seems like a good idea."
Understanding why you want to become a writer (and, possibly, an author) is an important first step because your motivation will impact your goals, your habits and your outlook.
