Showing posts with label writing help. Show all posts
Showing posts with label writing help. Show all posts

Monday, April 11, 2022

Giving Yourself Permission to Write


We've been talking about craft a lot lately (I mean, that's what my blog is largely about!), but I've had something on my mind for a while that I wanted to do a short post on. So I decided to take a break from the deep stuff this week to cover it. Now, this won't be a post for everyone. This is mostly for the aspiring writers. But even those who are more seasoned may benefit from the reminder. . . .

Being a writer is kind of an odd path to pursue because you do a lot of the work alone. Don't get me wrong, there is a writing community, and writing groups, and online writing websites, but the actual process of writing is really between the writer and the page (most of the time).

And frankly, the average person doesn't have a clue of what that entails. Unless you are surrounded by writers, most people don't really understand or care about what you are trying to do.

On the other hand, a lot of people in the world want to be writers. But I've sometimes been surprised by how many people don't give themselves permission to write.

Because that's exactly what you need to do.

No one else is coming to make sure you do it. (Well, unless you set up an accountability system.)

You need to be the person who gives yourself permission. Not your spouse. Not your teacher. Not your neighbor. Not your mom or dad or writing idol.

This is on you.

Sometimes this fact can be a little scary. We may feel unsure or insecure. We may wonder if we really are writers. Not to mention that, in general, so many other areas of our lives depend on other people. Our grades are given to us by teachers. Our parents gave us rules. Our mentors told us what to do.

Sometimes, we might want someone to validate that we are writers before we write.

But ultimately, it's about you. You are the person who wants to write. You are the person who will be doing the writing.

You need to give yourself permission to do this.

You need to be your own writing advocate.

Sure, there may be some people who can help and guide you along the way, but at the end of the day, it's on you.

Because of the way our society is structured, I've more than once found myself seeking permission that I didn't need, to do something, even if I didn't realize that's what I was doing at the time.

I wondered sometimes if I could freelance edit, but ultimately, it took someone else to tell me on their own they thought I could. That's not a bad thing, of course, but I sometimes wonder if I could have been doing that sooner if I'd just given myself permission to pursue it, instead of waiting for someone to validate that idea.

Getting permission is not to be confused with getting advice. If you are unsure about something, it's often a good idea to get insight from someone else. But by definition, true advice is meant to help guide you, not control you.

A lot of things in the writing industry don't require permission. You don't need to get the go-ahead from someone higher up to write a book, to write a query, to submit to agents, to promote your work. Because for a lot of this industry, ultimately, you are your own boss.

This is not to say you shouldn't take your other responsibilities and obligations into account. Maybe you have a very sick child, and they need to be your main focus right now. That's fine. We all have lives and schedules to balance, and there may be seasons where you literally can't fit in writing.

At the end of the day, though, this is your thing, this is what you want to do, and it's on you!

Isn't it wonderful that you don't need anyone else's permission to do it?

If you've been waiting around for some kind of sign to write because you want to, this is me giving you permission to give yourself permission. How much and how often you write is up to you and your goals and current lifestyle. But please remember you don't need anyone else's permission to write something. 

I know this is a simple post, and usually I cover much more complex concepts. But this simple thing is an important thing. Every great writer had to give themselves permission to pursue writing.

Now go write!


Monday, April 13, 2015

Making Strengths into Weaknesses (and Vice Versa) through Context



Basics—


When we create characters, we give them strengths and weaknesses to make them more realistic. Let’s say we create a character named Erin. We give her some strengths—she is a great teacher, productive, and focused—and also weaknesses—she’s prideful and a complainer. Just by giving her these strengths and weaknesses, we’ve already made Erin interesting. But you can play with this even more. I’m going to show you how strengths can become weaknesses and weaknesses can become strengths through a shift in context. This can add complexity to your story (and characters).


Taking it Further—


Most people generally agree on what is categorized as a strength or a weakness. If I gave a list of character traits to a class and asked them to separate them into strengths and weaknesses, they would probably all agree on what goes where. If I said “liar” they would probably say “weakness.” If I said “peacemaker,” they would probably say “strength.” But sometimes when we switch the traits’ context, we (if only temporarily) switch their category in the story.

Monday, March 30, 2015

How to Write What's Not Written (Subtext)



Subtext: *tries to be invisible*


I've been seeing a number of stories lately that are lacking in subtext. And honestly, it's no surprise. writing subtext (or, I guess not writing it) is flipping difficult to 1) understand 2) do. I had read about writing subtext like over two years ago, and only now do I feel like I'm starting to understand it and have conscious control over it. So, I'm going to attempt to try to explain how to do it.

What is Subtext?


The best definition of subtext, in my opinion, is this: subtext is what's not said; it is what is implied. 

Remember my humor post from a few weeks back? I talked about how Lemony Snicket had a specific technique he employed for some of his humor. He states the obvious. And then strongly implies the un-obvious. 

So subtext is what is implied. Look at this example of it that I just made up:
Robert, not bothering to raise his hand, spouted out an inappropriate joke.
"Robert, I don't want to hear that kind of language in my class," Mr. Henderson said, but the ends of his lips twitched up. "That's very offensive." He failed to suppress a full-blown grin. 
Here, we can tell that the teacher found whatever Robert said funny, but neither he nor the narrator comes out and tells the reader that. Instead it's implied by his body language and behavior--what he doesn't say. What Mr. Henderson actually says to Robert is at odds with how Mr. Henderson acts.

Monday, February 16, 2015

Writing Relationships Readers Can't Resist: Crafting Duos, Trios, Groups



There are loads of resources about creating great characters. But when it comes to creating great relationships--the perfect tag team, the favorite couple, the best friends--the writing world is lacking. Whether your characters are romantic partners, coworkers, best friends, siblings, or what have you, audiences eat up a wonderfully crafted duo, trio, or group.

People love Sherlock and Watson's relationship so much, that there is an entire fan community that roots for them to actually be together. Agents Mulder and Scully from The X-Files fit each other so well, they inspired the term "shipping." I was once watching Harry Potter with someone who turned to me and said, "You know, I love how Harry, Ron, and Hermione work so well as a trio."

Some kinds of relationships would still be entertaining to watch if the whole story revolved around the characters going to the grocery store--their relationship is that amusing. (In fact, one of my favorite X-Files episodes is where Mulder and Scully have to go undercover as a married couple living a normal life together. It's hilarious.)

So how do you create a tag team that readers can't get enough of? Well, here are some things to consider.

Monday, February 9, 2015

15+ Tactics for Writing Humor

A monster-length master list of over 15 tactics for writing humor, with examples from The Office, Trigun, Diary of a Wimpy Kid, Emperor's New Groove, The Fault in Our Stars, Harry Potter, Pink Panther, The Series of Unfortunate Events, Elf, Enchanted, The Amazing Spider-man, and more. Be prepared to laugh.



Introduction


I've been to a few workshops on writing humor, and I've read about writing humor, but the funny thing is, none of them really taught me how to actually write humor. But yet they all said the same thing: Writing humor is hard, harder than writing seriously, because if you fail at humor, you fail horribly.

I heard it so much, it made me fear failure rather than strive to develop that writing talent. For years I avoided writing humor, period. But the catch to that is that I also often hear how humor is a huge draw for an audience.

I read recently in Showing & Telling by Laurie Alberts that humor is hard to teach and that some writers believe it can't be taught at all. If you know these writers, send them to this post, send them to this post.

People think writing humor can't be taught because they don't know how to teach it. Some people can write humor, but can't teach it. They don't know how they are funny because it's just intuitive and natural to them. I was at one workshop on humor, and the only "how-to" tip they gave was that humor had to just come up naturally in the story. But professional comedians slave away and work their butts off writing their jokes, and then practicing them. That's not natural. Sure, some comedians do improv (Whose Line is it Anyway? was one of my favorite shows), so they're more natural, but I believe most comedians have to work to be funny.



Monday, February 2, 2015

How to Break Writing Rules Right: "Don't Use Adverbs, Adjectives"

As I promised last week when I talked about using cliches in your writing, today, I'm talking about using adverbs and adjective in your writing. When it comes to breaking the rules for adverbs and adjectives, you've got at least five great reasons to do it. 1) The verb or noun you need doesn't exist in your language. 2) To control pacing. 3) To communicate interesting or unusual situations. 4) To create a specific tone or character voice. 5) The adverb or adjective is doing double duty.


What's the Rule?


The Rule:
Don't use adverbs because it weakens your writing. Use adjectives rarely for the same reason.


Why it's a Rule

Take a look at these sentences:

She laughed happily.
The yellow sun was beating down on us.
Jasper pulled hard on the door knob.
"Get your butt to your room right now!" Cynthia said, angrily.
I quickly put on my beautiful, silky pointe shoes and with my thin, spindly, little fingers tie the ribbons around my bony ankle, so they fit constrictingly. I walk awkwardly to the dark, dim wings of the huge stage. I think about one fun evening at a local theater where I lovingly watched a ballerina dance gracefully across the stage and into the soft air. Happy and thrilled, everyone there smiled with joyful eyes.

Friday, September 12, 2014

Why We Get Writer's Block (and How to Overcome it)

(Listen to this tip on Youtube)

whendaylightstrikes said: So when you have writers block, how do you deal with it?


No, really though, so far I've found six reasons we get writer's block.

A Lack of Brainstorming
Usually when I get writer's block, it's because I haven't brainstormed enough. I'm stuck because I don't know what to do next. That's when I stop and have a few brainstorming sessions to get the ideas flowing. If you're having a hard time with your brainstorming, you could try brainstorming with someone, another friend or writer. He or she may have different ideas than you and one of them might spark. You might need to brainstorm more plot, a new character, or a new setting, depending on what you're stuck on.

The Wrong Turn
I've heard other writers say that if you get writer's block, it means you've taken a "wrong turn" with your story, and you need to go back a few pages to figure out where you strayed. Maybe you got writers' block because you sent your character to a Vegas hotel, so you go back and realize she really needs to go to a circus instead, or maybe you realize she fell in love with the wrong person, and she really needs to fall in love with the cowboy, not the police man.

Writing into a Corner
Sometimes you can get writer's block because you've written your character into a corner. Maybe you've had a kidnapper tie her up and you can literally think of no way she can get out of the situation. In that case, you may need to go back and rewrite the story so she doesn't get that stuck.

Monday, August 18, 2014

Empty Threats

Sometimes when I'm reading a novel or watching a show, the writer throws an empty threat into it. In a novel I was recently reading, a love triangle develops, but I knew from day one that the protagonist was going to stay with her first love. Yet, the author dragged me about this awkward love triangle for the majority of the book. It was still interesting, but it lacked stakes, it lacked intensity because I knew nothing big would come out of it.

The story might have been better if the author actually threatened with something I believed could happen. Often empty threats in a story mean missed opportunities to write something that really digs into the reader's emotions.

It's like parenting kids. If you don't follow through with your threats, then the kid stops believing in them. The threats have no effect. But if you follow through with those threats, they work.

In writing, it's not required to follow through with all of your threats. But don't be afraid to follow through with a lot of them. Then readers know you're not afraid to do so, and they really don't know how the story is going to play out. The stakes are real. Will Joseph die? Will Kristin choose Jack over Stephen? Even if Joseph doesn't die, the threat doesn't feel empty, because the readers know you're not afraid to kill him.

But if you keep threatening to kill people, and you never do, then it can lose its effect.

Monday, August 11, 2014

How to Get a Job in the Writing World


How do you get a job in the writing world? Either working for best-selling authors like yourself, or having your book published or anything relative to the writing career path? (Name withheld)


The writing world can be so versatile that it really depends on your goals. I hate to say this, but networking can be a big help. I got my job, in part, because I knew my boss’s wife and kids. Today, you don’t even have to network in person. You can meet people in the writing field online. Look for internship opportunities. I did three internships in college and not only did they look good on a resume, they gave me skills I would later use in my job today. If you can afford it, don’t be afraid of doing cheap labor—it can lead to better jobs later.


While you don't need an English degree for most writing jobs, pursuing one will not only make you a better writer and a more respected professional, but can open doors to career-related opportunities and experiences. If you do pursue a degree, it's helpful that you have a career plan in mind. Because an English degree can be so versatile, a lot of people graduate and then don't know what to do with it.

Friday, July 4, 2014

How to Write a Good First Sentence


(Listen or watch this writing tip on Youtube)

internraven said: I'm working on a novel now, and I've got everything planned out- outline, characters, a playlist, etc. I just can't find a first sentence. Do you have any tips for coming up with a good first sentence for a novel?


Coming up with a Good First Line for a Novel




Method 1
For some people, it's easiest to just start writing and come back and look through what's been written to see if any of it would work as a good first sentence. Then the writer rearranges the first few pages to accommodate that. He finds his first sentence by writing.

Method 2
This is similar to Method 1. The writer just starts writing, and it might be a bunch of rambling stuff that's actually not that important to the story. The writer is just trying find the beginning of the story. When she discovers it, she chops off the starting, where all the rambling is.

Method 3
If you want to start with a good first sentence right off the bat, think of some sort of hook you could begin your opening scene with. The first sentence usually needs to grab the reader somehow. Keep reading for how to do that.

A Great First Sentence
The main elements of a story are character, setting, conflict, and theme. Pick one of those elements and come up with an interesting first sentence to introduce it.

The best first sentences usually promise conflict or intrigue us somehow. A lot of people think they need to start with something life-threatening, like a bomb going off. That can work, but it can also get old, if it's not told in an interesting way, like this:

The bomb blew apart the grocery store down the street; Grandma Smith listened to the sirens and went back to knitting with a smirk.

The opening sentence doesn't have to contain life-altering information to be a great one. It just has to be interesting and make us want to learn more. One way to do this is to create interesting contrasts. Here are some examples I came up.

Mom handed me my Birthday present, and my stomach dropped.

We usually associate birthdays with happy emotions, but the narrator feels sick about this present, so immediately, we want to why, so we keep reading. It's an interesting contrast.

I took twice as long as usual to brush my teeth because Dad always preached the importance of looking your best at funeral.

Monday, April 14, 2014

Your Writing Eye





If you want to be great at writing, you have to do more than just write. You have to develop an "eye" for it. If you aren't developing an eye for it, you're not progressing very far. You can't become a better storyteller if you can't see how to. Right?

Your writing eye should always be ahead of your writing abilities. Read that sentence again: Your writing eye should always be ahead of your writing abilities. Why? Because that's how you learn and grow as a writer! If your eye is always ahead of your abilities, you always have something to strive for. If it's not, you can't improve your storytelling abilities.

Whether you're a beginning writer or a seasoned one, there is always more to learn.

Here are three ways to strengthen your eye for writing.

Monday, April 7, 2014

Feeding Us Criticism




If anyone is serious about anything in the arts, she's going to get criticized. And she should. The truth is, artists need criticism. Otherwise we can't fully hone our skills. We need people to feed it to us.

Some people say that "writers get a thick skin." I'm not sure I believe that. With the arts--whether it's writing, animation, painting, or dance--we also need to keep ourselves vulnerable, because art is all about opening up to others. Often the best art is vulnerable, in that it lets others connect with the artist's mind and soul.

So artists need two things: they need criticism and they need to be vulnerable. This can lead to hurt feelings. But, generally speaking, those feelings are the artist's responsibility, not the critic's. The artist needs to learn to deal with them, because he will feel them over and over again throughout his career. He needs to learn to take criticism.

So when we ask for feedback, give it to us. People think they might help by not telling us what they don't like, but in long-run, they're hurting. They're hurting our art and our personal growth.

We need critics who aren't afraid of hurting our feelings. We need critics who are okay when our feelings are hurt.

Monday, March 31, 2014

Third Draft Revelations


I'm on the third draft of my novel, and I've recently come to a realization. In a sense, the story will never be finished. Yes, I'm going to have it done enough someday to query agents, but there is always more. There is always a stone left unturned, a conflict unexplored, a setting left undiscovered, an interesting characteristic that hasn't made it to the page. There is always more. I can always take the story further. A writer can spend decades exploring and expanding a story, adding this quirk in a relationship, that surprise to the plot, those rich descriptions to every setting.

Sometimes the changes I think of making to my story aren't better or worse than what I already have. It's just preference. And I have to wonder, do I really prefer one over the other?

I think on a subconscious level, I wanted to explore every possibility, every unturned stone, and then pick what was best out of all of them. But with so many characters, complexities, mysteries, relationships, themes, and opportunities for worldbuilding, it's unrealistic to do that. And once the story reaches a certain point, it's not a better or worse option anymore, it's just a different option. Often it becomes an exchange. If I switch this, I can gain this and that, but lose this and that. Sometimes it's not.

There's a saying for movie-makers: "A movie is never finished, only abandoned," meaning, one can always do more work on it. He just finds a good spot to stop.

Friday, March 28, 2014

Tips on Starting a Story

Anonymous asked: Do you have any tips on starting a story? Haha, sorry, I'm new at this thing .-.




Don’t be sorry. Many writers feel the starting of the story is the hardest part to get right—and with good reason!

Luckily, you’ve come to the right place. I’ve read literally thousands of story beginnings, reading through slush piles.

First off, there are basically two methods of writing: “Pantsing” and “Plotting.” Some writers like to just start writing a story without an outline or anything, and they just discover their plot and characters as they go. People who do this are called “discovery writers,” or informally, “pantsers.” Other writers like to have a solid outline before they start a novel. They may even plan out the dialogue and action for a scene before they write it. These are “plotters,” or “planners.” A lot of writers use a hybrid method of both.

Friday, March 7, 2014

How to Start Writing When You Have No Idea Where to Start

(Listen to this post on Youtube)

Anonymous asked: I wanna start writing but I have no clue where to start or what to write about and I'm freaked that no one will read it so I don't see the point... I need help!



To begin writing, there are a few basic things every story needs: characters, a setting, and, problems. So those are all good places to start. Who is your character? What problems will he/she face? Where does this take place?

Some ideas for stories seem to pop into writers' heads all on their own, but most often, writers have to seek out the ideas themselves. When you start looking for ideas, you'll find them.

Often writers get "stuck" or get "writer's block" because they haven't brainstormed enough. Take some time to brainstorm. Sometimes all you need to do is sit down with a paper and start listing ideas. If you feel like they aren't coming, try looking at your favorite books, t.v. shows, movies, or, if you're into them, video games. What do you like about them? Was there something in one that inspired you to write? You might want to start there to get inspiration.

Saturday, February 8, 2014

Tips for Young, Aspiring Authors

Since joining tumblr, I've had several questions from aspiring authors sent in to me. If you ever want to ask me a question, send me a tweet, Facebook message, or email. While I might not get it answered soon, I'll put it on the list. So, here is the first question answered here on my blog.

just-alittlebit-insane asked, "Hey do you have any tips for a young aspiring author???"



There are so many tips and information to learn, it's hard to fit them all into a post. So, I'll put down the basics--some of the very most important tips.

1. Dedication and Drive
It's not uncommon for aspiring authors to lack support from their loved ones. Unless you are already posting fiction online, you probably don't have any fans yet. You're favorite author isn't standing over your shoulder giving you pointers and cheering you on. For some writers, the only person they have on their sides are themselves. (That's not anyone reading this, because I'll be on your side.) But my point is, whether no one is encouraging you, or your whole family is, ultimately, YOU have to be a self-motivator and a self-starter. YOU have to be your boss and be self-disciplined. You have to put in the writing. You have to do the learning. And you have to want it.

Monday, January 13, 2014

Writing Empathetically vs. Sympathetically and Sentimentally


Several weeks ago, I read a story that had a passage like this:

"My parents never really cared about me," Allie said. "All my life they saw me as a disappointment, a waste of space. I was always the butt of their jokes. And no one really noticed. I was always last place, as far as they were concerned. I had a really difficult childhood. . ."

And it went on like this for about a paragraph or two.

I could see that the writer wanted to foster sympathy for the character, wanted to explain how the character felt about her upbringing.

But ultimately, it made her sound whiny--and I could tell that wasn't what the author intended.

At first I was a little sympathetic to the character. . .then after several sentences, the writing just felt sentimental to me, meaning, I felt like the writer was trying to coax me to feel a certain way, like I was being controlled, rather than letting me feel for the situation myself. 

It's a good idea to want your readers to connect with your characters' hardships, but it can backfire if it's too sentimental or sometimes even when it's sympathetic.

Instead, when you want to impact the reader, strive to create empathy.

Usually when I hear empathy, I think of someone who is in pain, going through a lot of difficulty, but really, it's a level of deep understanding--whether that's an understanding of fear, bravery, or obsession.

Here are two examples to illustrate empathetic writing.


In The Maze Runner, I got to a scene where James Dashner wanted to show that his main character, Thomas, was a hero with a good heart--but I could only tell because I'm not just a reader, I'm also a writer. He didn't write about it sympathetically or sentimentally, he created empathy simply by putting us in Thomas's head and showing us what he did in a given situation.



Monday, December 30, 2013

Stacking Your Brainstorming Ideas


When I sit down to brainstorm--whether I'm letting my ideas free-flow or I'm trying to come up with a solution to a problem in my manuscript--I start listing possible ideas.

After I find several that work, I stare at my answers and try to decide which to use. I start weighing my ideas against one another. Sometimes I get in this little battle over them, weighing the pros and cons of each.

Then it hits me.

Can I find a way to use most or all of my ideas?

Usually the answer is yes.

And my story is better when I stack multiple ideas together. It's more likely to exceed my audience's expectations when I do that.

So, today's post is short, because it's simple. When brainstorming, see if you can stack your ideas and utilize as many as possible. You're story will likely be better because of it.

Monday, December 23, 2013

2013 Resources for Writers

Last week I posted about the best books I found this year. Today, I'm listing all of the valuable resources I've found for writers, including a site where you can create your own audiobooks, references for writing tips, and a word processing plugin that will actually teach you to write better.

(Sidenote: Thanks for participating in our giveaway! You can see the winners here!)

References for Writers

ACX.com

If you hold the rights, you can go to ACX.com and turn your book into an audiobook. You can either read the book yourself, or hire an actor. Here's how it works for the latter:
1. You upload an excerpt of your book
2. Actors audition for it.
3. Judging from the auditions, you pick who you want to read it.
4. Once it's all recorded, you're set to sell it. ACX can get it up on major retail sites.

Watch this (fun) video about the process.



Check it out for yourself at ACX.com

The Emotion Thesaurus


One of the biggest problem areas for writers is conveying a character's emotions to the reader in a unique, compelling way. This book comes to the rescue by exploring seventy-five emotions and listing the possible body language cues, thoughts, and visceral responses for each.

Using its easy-to-navigate list format, readers can draw inspiration from character cues that range in intensity to match any emotional moment, including situations where a character is trying to hide their feelings from others. The Emotion Thesaurus also tackles common emotion-related writing problems and provides methods to overcome them.

This writing tool encourages writers to show, not tell emotion and is a creative brainstorming resource for any fiction project.