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Posts from the ‘Craft’ Category

Apr 10

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Make your characters come alive with a character journal

I’ve been working on my fantasy novel lately and feeling as if I need to get closer to my protagonist. Scenes have been clicking along but I was starting to feel that some of my protagonist’s feelings and reactions to what is happening around her need to come out more.

Expanding on an idea I first heard about from author James Scott Bell, I decided to start a daily journal from the point of view of Caitlin, my protagonist.

My plan is that when I’m done writing a scene or a segment of a scene, I’ll take five minutes and write in her journal about how she feels about what just happened. Read more

Apr 8

How your audience can feed your writing soul

This weekend, my writer’s soul was nourished and fed. I gave a poetry reading at our local artsy coffee house, the Poulsbohemian, with two other poets—author and teacher Bob McAllister and Bill Mawhinney who runs the Northwind Reading Series in Port Townsend.

I was honored to read with these two prolific and treasured poets and they’re part of the reason I had such a great experience this weekend. But there was another reason the night stood out for me as the best reading I’ve ever given—the audience.

When I read, I like to take turns reading from my pages and glancing around the room at the faces in the crowd. My intent is to tune into their energy and take them for a ride with me. My goal is to entertain and move my audience.

Last night, I have to admit I was a bit tired when I arrived. But as soon as I started reading, I could literally feel the audience’s intent—they leaned forward, their eyes were open, they followed my words and wanted more. It felt as if they had all dialed into the same static-free channel at the same time. I’ve given readings before but this was the first time I felt the audience was really hungry. Read more

Apr 2

Use cause and effect to further your plot

Martha Alderson, otherwise known as The Plot Whisperer, defines plot as, “a series of scenes arranged by cause and effect to create dramatic action filled with tension and conflict to further the characters emotional development and create thematic significance.”

In her book, Blockbuster Plots, Alderson breaks down the above statement an element at a time to explain what each part means.

Cause and effect means that the events that happen in one scene cause the events that happen in the next scene. For the most part, we want our stories to flow from scene to scene and not feel episodic or random. Episodic scenes can make a novel feel disconcerting and choppy.  (Of course, this isn’t a hard and fast rule—I’ve read purposely episodic memoirs or novels where the author intended this. But, the key here is the authors knew what they were doing and used the technique on purpose).

If you want to hear more on cause and effect by Alderson watch this 7-minute video:

Apr 1

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What are your writing quirks?

As an editor, I’ve found that all writers — including me — have patterns of writing that I have to fix during editing. Over time, you learn some of your own quirks. But when you work on the same piece of writing day in day out, you get too close to your sentences to spot everything.

That’s when other writers who come to your work with a fresh perspective are invaluable.

I met with my writer’s group yesterday and feedback revealed overused and unnecessary words, repeated phrases or sentences left over from when I moved sections around, and passive writing that I missed when I read my manuscript for the umpteenth time.

At a certain point, it’s impossible to effectively edit our own work. Our brains glaze over.

If you start figuring out these patterns (with a little help from your friends), you’ll become a better writer. You’ll be more effective at self-editing because you’ll have a new level of awareness. Read more

Mar 29

Three posts to enhance your story’s emotional landscape

Below are three posts from me and Carly about enhancing the emotional landscape of your characters and stories.

In the post “Find your story’s emotional throughline” Carly writes about a babysitting experience she had where she learned about subtext–finding the real meaning beneath an event.

“Enrich your characters’ and readers’ emotional experience with these cues,” is a post about helping readers connect with your character’s emotions.

“Try these techniques to amplify emotion in your writing,” examines the use of anaphora to enhance your story’s emotional impact.

Mar 28

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Answer your pesky editing and writing questions with these resources

To capitalize or not. One word or two? These are two of many confounding questions we run into as editors and writers. I’m sure I’ll never have every grammar and usage rule at the top of my mind, so luckily I have resources to consult that keep me on the straight and narrow writing path.

If you’re puzzling over a grammar question, checkout — I mean check out — my go-to source: Mignon Fogarty’s Grammar Girl: Quick and Dirty Tips for Better Writing. Fogarty also has a book by the same name, Grammar Girl’s Quick and Dirty Tips for Better Writing.

Here are recent word and usage questions I looked up.

Further vs farther – “Farther” is for for physical distance and “further” for metaphorical, or figurative, distance. It’s easy to remember, says Fogarty, because “farther” has the word “far” in it, and “far” obviously relates to physical distance. Read more

Mar 25

How to stand out from the slush pile

One of the things I love about reading other people’s work is what I learn from it.

So, last year, when I was asked to be one of the judges for a prose competition, I said yes. The competition guidelines listed the areas we were to rank on a scored number system—things like characterization, setting, dialogue, point of view, etc.

Of the twenty or so submissions I read, there were a variety of stories—from a gothic, steampunk, coming-of-age story to a memoir about losing one’s memory in the aging process.

A few submissions stood out above the others like the shiny, bright agates my cousin and I would hunt for on the beaches of our childhood. These submissions wove all aspects of good writing and storytelling together into a whole that hooked my interest from the first line and never let go.

The majority of the submissions fell somewhere in the middle of the pile—not to be rude—but what I might call “mediocre land.” They weren’t poorly written but they didn’t grab ahold of me and say, “Read this, now!” In fact, in many cases, I couldn’t wait for the story to be over because I was bored.

So, what did I learn? Read more

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