The Writing Life – Page 4 – Catholic Writers Guild

On writing…better!

September 24, 2013/12 Comments/in Catholic Writing and Publishing, Editing, Encouragement for Writers, Fiction, Marketing Your Work, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

What do you view as the most important element of your writing, or your writing life?

Passion? Yes, we all need that, especially when faced with rejection or obstacles in our quest for publication. But if passion were the most critical element in the making of a successful author, the bookstores would be overflowing with our works.

Persistence is certainly another closely related trait shared by successful authors. Again, though, while essential to success, it’s only part of the story.

Time (and balance) questions are often posed to well-known authors in Q & A sessions. It’s a challenge for everyone: how to juggle family/work/writing. That one has no pat answer. Each person has to find what works, and once a routine is established, be flexible enough to accommodate changing circumstances.

How about subject matter and finding a matching audience? Yep. Crucial. Have you written something that someone wants to read? How are they going to discover it? If you have a good handle on these basics, you’re a step ahead of many writers.

Let’s say you have all these ingredients. You’ve got a story (or a topic, for nonfiction writers), a passion for telling it, you are persistent, and you have a good sense of your target audience. You’ve created a workable plan that supports your creativity.

Anything missing?

I would humbly propose that commitment to development of one’s craft might actually top the list. If the final product is full of misspellings, inappropriate word choices, poor pacing, clichés, etc., no one is going to want to read it, no matter how awesome the premise.

Your goal is for readers to snap up your amazing work! And then clamor for more!

Development of craft can come through formal schooling (college coursework, or in-residence classes), informal schooling (online classes or workshops at conferences), or books. I’d like to share my favorite books on the craft of writing. Some of these have garnered mention in my contributions to the CWG blog over the past year or so, but I thought it would be helpful to list them together. I’d also love for you to jump in with your favorites.

Self-Editing for Fiction Writers, Browne & King. The first craft book I ever bought, its precepts remain timeless and valuable.
Plot & Structure, Bell. Great for learning, well, how to structure fiction.
Conflict & Suspense, Bell. How to keep your reader turning the pages. The ideas pertain to all fiction, not just suspense, and can be applied to nonfiction, as well.
Revision & Self-Editing, Bell. Just what it says. (*Note: The last three books are by James Scott Bell, and are published by Writers Digest, which offers an extensive list of books on the different aspects of craft. There are other books on these subjects by other authors and other publishers.)
Save the Cat!, Snyder. Intended for screenwriting, it is a great resource for learning story structure and for increasing the level of dialogue (a trend in modern fiction).
Writing the Breakout Novel, Maas. Everything about novels and how to balance the elements, written by a high-powered literary agent.
Break into Fiction, Buckham and Love. Perhaps more geared to the genre of romance, but more broadly applicable.
Writing a Romance Novel for Dummies, Wainger. A top editor with many years of experience, this peek at our work through her lens is invaluable. Again, the content can be more broadly applied.
Believable Characters, Creating with Enneagrams, Schnebly. A method for creating rich characters based on personality types.
Punctuation, Plain and Simple, Edgar C. Alward and Jean A. Alward.
Roget’s Thesaurus.
Any good dictionary.
Words That Make a Difference, Greenman.
The Elements of Style, Strunk and White.

Books by successful authors about writing on my shelves:

On Writing, Stephen King
How I Write, Janet Evanovich
Escaping into the Open, the Art of Writing True, Berg.

Believe it or not, this is not a complete list of my reference books. Some of the rest duplicate the content of the ones listed, or stray from a strictly-writing focus. Have I read all of these? You bet. In some cases, several times over. Have they helped me? Absolutely. Would they help writers of the submissions of a recent contest I judged? Yes, yes, and yes again.

What references do you keep at hand as you write? What books do you consider so essential that you’d buy a copy for your favorite protégé? Let’s see how many different books show up in this list! Thanks for contributing to a reference gem for our fellow authors!

Which way???

August 26, 2013/13 Comments/in Catholic Writers Conference Live, Catholic Writing and Publishing, Encouragement for Writers, Fiction, Marketing Your Work, Self-Publishing, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

Did you go to Catholic Writers Conference Live? Or perhaps you’ve been lucky enough to attend another writers’ conference in the past few months. You’ve come home with a mind spinning with possibilities. Suddenly you have options, and choices to make. You’ve pitched a book (or two, or three), and hurriedly polished your work in order to send it to interested editors or agents.

Maybe you sense a sale in the offing. (Cue cheering crowds and confetti!)

Or…maybe not. Maybe your work straddles two genres, or maybe publishers are saying your story is unmarketable. Or worse, your genre is dead. Whatever the case, you’ve found no takers.

No need for discouragement – not in this day and age. Now you can publish your work by yourself. Five years ago, self-publishing was still new, and still carried a fair amount of risk. Print on demand (in its current form) didn’t exist, and an author basically had to commission a small print run out of their own pocket. Without the ability to market or access traditional booksellers, more than a few self-published authors ended up with a garage filled with thousands of unsold books – and a big hole in their coffers. Thanks to the explosion of e-books, authors of well-written fiction can now publish their own work.

Rather than go into the nuts and bolts of how to self-publish, let’s examine the pros and cons of taking on the venture.

At first blush, there is no con. After all, you just format and upload your work and wait for the money to roll in. Well, not so fast.

It boils down to: How much work are you willing to do, in order to succeed? And how do you define success? The answers to those two questions will drive your decision.

As a self-pubber, you are responsible for obtaining quality editing (yes, you must do this, and no, critique partners don’t count), formatting, cover design, obtaining ISBN numbers, finding out how to upload to the different platforms (Kindle, Nook, Smashwords, etc.) and then doing it, and promotion.

Some people relish the control they have over the process; others would rather poke their eye out than deal with all the details. As a self-pubber, you will create business relationships with cover designers, free-lance editors, and formatters. You will build an online presence and platform. This includes at least a website (complete with “buy” buttons) and an author Facebook page.

Marketing and promotion are essential. Getting your book noticed now that “everybody” is self-pubbing is not an easy task. Depending on your comfort level and ability to create and manipulate social media, you may face a steep learning curve – or pay experts to build and maintain your website, etc. Either way, it takes time and effort to market. *Note: Marketing and promotion are required of all authors nowadays, whether their route is via traditional publishers or self-publishing.

Sound like something you’d like to tackle? Then here are a couple of important things to keep in mind.

The most critical item in self-publishing is having a quality product. That means your book has to be the best it can possibly be. No ‘throwing it out there’ to see how it does. If the quality is mediocre, or worse, poor, you’ll generate bad reviews on Goodreads or Amazon. It is very difficult to entice people to try a subsequent work if the initial one was of poor quality.

The best way to ensure quality? Surround yourself with a superb team.

Before you jump into the self-pubbed fray, pay for a free-lance editor. At three to five hundred dollars, it’s a chunk of change, but every successful self-pubbed author I know views this step as vital. Read other people’s self-pubbed books, and when you find one that’s well-edited, contact the author to find out who they use. The best ones are booked a year or so out.

Find a great cover designer. Even in e-books, a sloppy or amateurish cover can kill sales. Same for formatting. Most readers will let an occasional error slide, but repeated errors are annoying.

Build a strong online network. Word of mouth still sells more than anything – but when your ‘word of mouth’ is a small group of authors with a similar readership and ten to twenty thousand Twitter followers each, ‘word of mouth’ takes on a whole new meaning. Too, there are Twitter accounts that exist solely to promote self-published works.

Other options are available if you choose to not take on the responsibility of self-publishing. Many smaller e-publishers are springing up to serve specific niches. You give up some of the profit in return for not having to go it alone. A ready-made team might be the perfect solution.

Or consider the hybrid route. Self-publish some work and seek traditional publication for others. Mix and match between larger and smaller houses.

Having a clear plan is essential. And since this is the Catholic Writers Guild, it is imperative to begin the discernment process with prayer. It’s crucial to align ourselves with God’s plan for us and our work. Sometimes an examination of conscience reveals that our ego or pride is driving our insistence on a particular path. Neither avoidance of rejection nor arrogance will serve us (or God) well.

What are your thoughts regarding self-publishing? Can you add some wisdom gleaned from your experience? What led you to take that path? And what have you found to be the most important elements for success?

Religion and Politics – A Polite Conversation

June 25, 2013/5 Comments/in Catholic Writing and Publishing, Religious Liberty, The Writing Life/by Leslie Lynch

You know the old saw about not bringing up religion and politics in polite company? Well, I’m going to bring up both, as we have just entered the second annual Fortnight for Freedom. The U. S. Conference of Catholic Bishops has again called for two weeks of prayer and action to address many current challenges to religious liberty. As Catholics, how do these two facets of our lives intersect?

Last year, a few days after the election, I attended an evening presentation by Archbishop Charles Thompson of Evansville, Indiana. He opened his remarks by relating an encounter with one of his archdiocesan priests who had asked how he was to comfort parishioners distressed with the outcome of the election. His response was something to the effect of, “I was upset when I woke up and heard the results, too.” He paused, then added, “Of course, as a Catholic, I would have been just as upset no matter who won.”

That is the only statement I remember from the whole evening.

Political parties and governments are man-made, not God-created. Therefore, no party will embrace the full truth Christ preached. Yet, I know staunch Democrats and staunch Republicans who cannot fathom being Catholic without being a diehard member of their party.

A year ago, I believed that all Catholics knew more about their faith than I did. I am a convert, granted, from some thirty years ago, but the instruction I received prior to becoming Catholic was pretty spotty. To me, ‘conversion’ was nothing more than attending a different church – one with lots more ritual than I was used to, but hey. No biggie. Years passed. Then I encountered my first anti-Catholic sentiment. This was a turning point. I realized I was poorly equipped to explain my faith, which had quietly become the basis of who I am. I poured my energies into learning about the reasons behind all those ‘unreasonable’ tenets held by Catholics. This is not to say that I don’t struggle, because there are some teachings that are hard for me. But rather than turn my back on the Church, I have learned to accept some mystery.

I have come to realize that many of us (Catholics) do not understand, much less embrace, those core beliefs. Regular readers of this blog likely do, but the average Catholic, maybe not so much. And this is why our government, elected by us, is able to erode our freedom of religious liberty.

What steps are necessary to reclaim and restore those freedoms?

Remember (or perhaps understand) that as Catholics, we do not hold to a single conversion experience; rather, our lives are a continual conversion toward God. Moment by moment, we conform to His image, His reasoning. This is an ongoing, life-long process. With that in mind, we can do some of the following:

First, pray. Then pray. And last, pray. Pray for ourselves, that we become more Christ-like in our hearts, so that we can carry out the work of His kingdom within our sphere of influence. Pray for our leaders, both in the Church and in the government, that all will work for the good of the poor and the oppressed. Pray for those we don’t understand; pray for our enemies. Often, when we open ourselves to listening to others, we discover we have far more in common than we have differences.

Catechize ourselves. If you don’t understand why the Church teaches against contraception, read Pope John Paul II’s Theology of the Body. An excellent resource in understanding the Bible itself is Jeff Cavins’ Great Adventure Bible Timeline series. Have you read the Catechism of the Catholic Church? I highly recommend it. In the past, I had used my Catechism like a dictionary. Have a question? Find the topic in the Catechism, look it up, and read two or three paragraphs about the subject. But the document is so much more than that. It is compassion, it is clear, it is welcoming. It explains the faith without judgment or apology. It invites.

Catechize those around us. When those uncomfortable subjects come up around the water cooler or in the break room, you’ll be in the unique position of being a myth-buster. Who knows? Maybe your spontaneous comment will be the one that stays with someone for months, and motivates them to learn more or reevaluate their thinking. Don’t forget your family and your faith community. We are all at different stages in our journeys, and we have much to learn from each other.

Vote. Educate yourself. Then vote your conscience.

Write your congressman and senators, at state and federal levels. It’s easy to do, especially now that their offices accept email. I’ve become a letter writer. That use of my God-given talent may be the most important. Only He knows. Write a letter to the editor of your local newspaper. Write an encouraging note to a friend.

Most of all, love. A joyful, listening heart is what we all long for, and will open more doors than any of our words.

You’ll notice that my approach to the Fortnight for Freedom begins at home, within each one of us. Our faith was never meant to stay there, though. Ships are not built for the harbor, but for the challenges of the open seas. Such is our faith.

Make sure your ship is seaworthy, and go. Become a fisher of souls.

Dismantling Writer’s Block

May 28, 2013/16 Comments/in Blogging, Catholic Writing and Publishing, Editing, Encouragement for Writers, Fiction, Inspirational, Self-Publishing, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

Writer’s block.

I don’t believe in it.

Okay, I’ll hedge that a bit.

All writers have moments when the words don’t come, or they have to be pried out of our brains like candy out of a three-year-old’s grasp. I do acknowledge that fact. Those moments are not fun.

Those moments are always uncomfortable, even anxiety-provoking.

“Writer’s block” is a great excuse when you need one.

But I’ve learned that when I run up against the dreaded blank-page-combined-with-blank-brain syndrome, rather than “try harder,” I need to dig deeper.

For me, writer’s block is a symptom, not a disease. It almost always shows up when something else is wrong.

I’ve run up against it twice in the past couple of weeks. The first time, I was working on revisions to a book length manuscript. The rut began to form when I tried to revise in accordance with a critique partner’s suggestions. Mind you, there was nothing at all wrong with her suggestions; I understood and agreed with them. And yet the more I tried to comply, the deeper the rut became, until I was stuck.

When I finally stepped back and reevaluated, I decided to trust my own instincts and disregard the advice. The floodgates opened. Ta-da! No more writer’s block.

The other instance was when I was trying to write a post for a guest blog appearance. I got so tied up in how awesome all the other guest-bloggers were (and how hard it was going to be to compete with them) that I couldn’t think of a subject to write about. Fear of the unknown kept my fingers off the keyboard, with that blasted cursor mocking me.

And then I recognized what I put in parentheses in that paragraph.

I know better than that! At a simple decent-human-being level, or at the level of maturity befitting the color of my hair, I know better than to compare myself to others. And at the level it matters most, as a Catholic Christian believer, I know that we are all given the exact gifts God wants us to have. I can entertain exactly zero envy over the other bloggers’ humorous or clever or passionate posts. Once that flash of insight came, I was able to write.

Here are some of the tools for dealing with writer’s block I’ve discovered over the years, none of them my own, by the way. I credit the many authors who traveled ahead of me with these ideas!

1. Give yourself permission to write badly – and then write. The words you tap out on your computer are not etched in stone. You can delete what doesn’t work later, so just start putting words on paper, so to speak. I’ve often started out with “I have no idea what to write next, but I have a sense that such-and-such character might do/say this, or that plot idea might happen.” Within a few sentences, it usually morphs into something I can work with. The unanticipated gift of this method is that I often discover a gem that livens up the story.

2. Get out of your own way. Figure out what’s wrong. If there are underlying issues, acknowledge and face them. If fear has you paralyzed, stare it in the face and then stomp over it. We are all insecure. We all fear failure, success, taking a risk, criticism, making a commitment. Deal with what ails you, and then write anyway. If there’s something wrong with the manuscript, try writing the scene from a different character’s perspective or go a different direction for a while.

3. Change your scenery. Get up and walk away from the computer. (I can’t tell you how many times a solution came to me as soon as I shut down the laptop and stood up!) Even better, go outside. Smell the flowers. Let the sunshine warm your face. Listen to the raindrops on the street, the leaves, the roof. Go to a museum, or a movie. Go to the zoo and watch people watching animals. Go to the mall and make up outrageous stories about the people walking by.

4. Get physical. Go for a walk or a hike. Dance. Play a game of tennis or hopscotch or go for a bicycle ride. Anything to get the blood flowing in your muscles—and in your brain.

5. Write something else. Write a thank you note or an email or an honest-to-gosh real live, old-fashioned letter! Free write, or use a writing prompt. Write fiction if you’re stuck on a nonfiction piece, and vice versa. Interview your characters; ask them what they want you to know.

6. Do something creative with your hands. Draw or paint a picture. Do it with your non-dominant hand. Make a quilt square or embroider the beginning of a pillowcase design, if you like fabric arts. Cook something really yummy from scratch, and enjoy the aromas and textures along the way. Garden, whether it’s indoor or outdoor. Write something longhand. Try that with your non-dominant hand!

7. Engage with another human being. Hey, we’re writers. It’s a solitary activity. Sometimes we forget how much we need to connect with others. Take a break and play with a child. Talk with your spouse and make eye contact. Volunteer, officially, or just lend a helping hand. Go out for coffee with a friend, or invite another family over for dinner.

Rather than a curse, writer’s block can be a blessing. Listen to it. Let it tell you what you need to do, or not do.

Just don’t let it be an excuse to keep you from your passion.

How do you identify writer’s block? What strategies do you employ to get past it? What have you learned from it?

Community! Find it in Unexpected Places!

April 23, 2013/12 Comments/in Catholic Writing and Publishing, CWG Blog Info, CWG member benefits, Editing, Encouragement for Writers, Fiction, Inspirational, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

I took up a swimming challenge at our local YMCA in January, and I’ve had plenty of time while plowing through the H2O to contemplate. One of the things that came to me recently – and which I did not anticipate – was what swimming (or any solitary sport), writing, and faith have in common.

Did you notice the word solitary? Swimming is singularly solitary, because your face is in the water and the opportunities for interaction are pretty limited. This is true for writing, minus the face-in-water part. It’s an internal activity. Faith comes down to one’s core beliefs, which is, by definition, extremely individual.

What I never expected to discover with swimming is community – and yet it is there. Maggie, Ann, and Linda show up at roughly the same times I do for laps. They bring smiles, enthusiasm, and energy which all rub off on me. (Hopefully, I bring the same to them!) They also challenge me to do more than I ever thought possible, both in distance and in perseverance.

This is what a faith community does for us, as well. While we are responsible for nurturing our own growth, its potential is exponentially expanded when we share our faith with each other, and deepened when we gather to worship as community.

Writing communities can be powerful agents of support and encouragement, too. Because of the solitary nature of writing, it’s important to connect with other writers, whether through online venues such as Catholic Writers Guild, or through face-to-face opportunities.

So how is one to find these opportunities? The question of finding critique partners has come up a few times recently in the CWG blog. It’s not always an easy question to answer. The first step is to find writing groups. You’re here, so you’ve discovered this wonderful community. There are some forums for critique groups; check them out and see if they are a good fit. Also, participate in the live and online Catholic Writers Guild conferences whenever possible, and consider saving up for the annual writing retreat. Opportunities abound within this group!

Beyond CWG, check with your library or a nearby college for local groups. Google writers, authors, or writing groups in your area. (I recently found two groups in my area that I had no idea existed; you might be surprised!) Attend a local or regional writing conference, even if it’s not in your genre. You might connect with another author and decide to trade manuscripts for critique. Sometimes critiques are raffled off as writing fundraisers, or are offered as an extra benefit at a workshop. While this last idea isn’t as likely to result in long-term relationships, you will get some insight on how to improve your writing.

Many special interest associations exist, and most have local chapters. Check out American Christian Fiction Writers (which is focused on the Inspirational market and has a slightly different audience than the Catholic Writers Guild), Sisters in Crime (misters are welcome to join), or Romance Writers of America®. RWA® has a wide variety of online special interest chapters, one of which might address your genre, although all are focused on writing some variation of a Happy-Ever-After ending. Mystery Writers of America has an associate membership level for unpublished writers. SCBWI, Society of Children’s Book Writers and Illustrators, is a gold mine of information for writers of children’s and young adult literature.

You might want to try out Critique.org, an online group that runs on critique exchange. No cost is involved, other than your time in exchange for someone else’s. Or consider an online writing class. One of my critique partners built a years-long critique relationship with a fellow writer she has never met in person. You can find class offerings on Announceonlinewritingclasses, a yahoo group. (Be judicious. When I first discovered online classes, I signed up for several at the same time, not realizing how much time and energy they can take. The cost adds up, too, but if you only sign up for the ones that really apply to your interests and level of expertise, it’s possible to develop a critique relationship with a like-minded author.)

For more on critique and critique groups, see my CWG post from May 22, 2012.

How have you found a writing community that meets your needs? How did you find Catholic Writers Guild? My guess is that many of us came from other groups; share what was best about them!

Balance in Fiction Writing

February 26, 2013/17 Comments/in Catholic Writing and Publishing, Editing, Encouragement for Writers, Fiction, Marketing Your Work, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

Balance.

A few days ago, Ellen Gable Hrkach posted a great blog on common errors to avoid in writing fiction. One item she mentioned got me to thinking, namely too much dialogue.

What’s ‘too much’?

A lot of times that depends on the genre you’re writing. Clearly, screenplays and graphic novels rely almost exclusively on dialogue.

Novels, however, require a blend of narrative, description, introspection and dialogue. The ratio of one to the other changes with both prevailing ‘style’ and with genre. Novels written a century ago utilize long passages of description and flowery stretches of dialogue, whereas the trend today is for faster, tighter construction in all areas, especially dialogue.

How do you know if your manuscript has a good balance? Part of this comes down to voice, that elusive factor that makes your work yours. However, we’ve all had the experience of reading a book and finding ourselves skipping over passages, maybe even pages. If we skip too much, we’ll put the book down – and if that happens, we may never pick it up again.

Not good, if you’re the author.

Next time this happens, stop and analyze why you lost interest. Chances are there was too much of one element on the page. Too much description. Too much internal monologue, or perhaps too much narrative. Sometimes too much dialogue, but if that’s problematic, it’s more likely because the ‘voices’ of the characters are too similar. They need to be so distinctive that the reader knows who is speaking. Even so, if they go on for pages, the reader may tire. (For more on dialogue, click here.)

One helpful technique is to analyze your manuscript for the different elements and highlight the pages. Margie Lawson teaches a method for this in her Deep Editing classes. Choose different colors for narrative, description, emotion, dialogue, and internal thought, etc., then go to town with your highlighters (or crayons, or whatever your inner child wants to play with!). If one color dominates a page, revision might be in order. One of my critique partners occasionally says of my work, “This section has too much yellow.” Since we’ve both taken Lawson’s class, I immediately understand what the problem is. My work flows better if the page has a rainbow of colors. Another application of this technique is to apply your highlighters to one (or more) of your favorite published books.

Keep in mind there is no ‘one size fits all’ in fiction. Thank God! Otherwise, reading would get boring! Check out a wide variety of books to see how other authors manipulate the elements that create story.

For instance, action novels such as Lee Child’s Reacher series use lots of dialogue, but it’s nearly all less than one line long. Child also uses relatively long stretches of description/narrative, and he tends to go with one or the other at any given point. His books are effective, powerful, and popular.

Debbie Macomber takes a more blended approach in her wildly successful women’s fiction and romance novels. You will find narrative, description, introspection and dialogue on nearly every page.

Many authors are exploring screenwriting classes, some for the challenge of breaking into a new field, but most for a better understanding of both story structure and use of dialogue. While this is an excellent strategy for honing of specific elements, written fiction is more effective and more engaging when the entire spectrum of tools are used to create the final product.

The subject of balance also touches on pacing, which is a topic deserving of its own post. Narrative, description, and interior monologue can slow the pace—although skillfully applied, they can ratchet up the tension until it is unbearable. Dialogue tends to speed things up.

As you can see, there isn’t a cut-and-dried answer to ‘how much is too much’. But a willingness to analyze and evaluate your writing will always make it stronger. Look at your work with an eye toward what you want to accomplish in a given scene. Learn to use all the tools in your toolbox. Buy books on the craft of writing. Review them once in a while. Take classes. Be open to feedback from trusted colleagues, and then decide how (or if) you will apply their advice.

Find the best balance for your story and your voice.

Have you struggled with this aspect of writing? Do you have tips to share? Please do!

Creaky Bones? Fitness for Writers

January 22, 2013/15 Comments/in Catholic Writing and Publishing, Encouragement for Writers, Humour, The Writing Life/by Leslie Lynch

My granddaughter, who is three, thinks that I am really (stretch that word out for maximum effect) old. We have a standing joke: Gramma has ‘creaky bones’. We even have a song and a dance to go with it, and it’s great fun. Of course, I’m not that old, nor do I have creaky bones. Er, well, since this is the Catholic Writers Blog, I’d better be totally truthful.

Most of the time I don’t have creaky bones.

But sometimes I do, and this condition is most often associated with writing, one of my favorite activities in the world.

However, writing is a solitary activity that is most often done while sitting. There are some issues common to writers, simply because of the nature of the work. Neck soreness, posture problems, difficulty in managing weight, carpal tunnel syndrome… The list goes on, and I wouldn’t be surprised if you can add to it.

Big, big disclaimer here! I am not giving any medical advice, just pointing out common sense things we can do to counteract the, ahem, hazards of our profession. For some great discussion and support, visit The Healthy Writer. This blog was formed a couple of years ago by authors who recognized the benefits of raising awareness regarding health topics specific to writers.

One of the first things to address is the ergonomics of your work station. Invest in a great chair – not a good chair, a great one. Find one that encourages – nay! – compels good posture. You’ll have to provide the muscle for attaining and maintaining that posture, although often all that is required awareness of your spine, shoulders, and alignment. For me, when I think about it, I sit up straight. When I don’t, I can count on encountering creaky bones.

Getting up from the chair is important, too. Some writers set timers to stay in the chair and write; don’t overlook the idea of setting a timer to get out of the chair once an hour and walk around. I sometimes lose track of time when I’m absorbed in my work, and when I surface, I’m stiff. It helps to get up, step outside, and remind myself there is a beautiful world out there. It clears my mind, too, which is always a plus when I go back to work.

You can spend a lot of money to buy a treadmill work station, as they are making inroads in some work environments. Or you can jerry-rig a desk to an existing treadmill. (I did mine with a piece of plywood and a couple of bungee cords.) Either way, set it at a very low pace and write as you stroll. While you aren’t building a sweat and knocking out the miles, you are moving. Here’s a great example of making it fun, too: award-winning author Caroline Fyffe “Walking Across America” on her treadmill. There are also stationary bicycles out there that incorporate a built-on desk. Again, with a bit of ingenuity, you can get a similar end product without spending as many dollars. (*I am not endorsing any products; these were simply links I came across while researching.)

Stretching, yoga, or swimming can be good for tight muscles. Weight lifting can build muscle and increase metabolism. Pay attention to what you put into your body, too. Choose healthy foods; drink adequate water and don’t overdose on caffeine, that quintessential author staple!

Some simple stretches that I’ve learned (again, check with a doctor or physical therapist if you have any musculoskeletal issues) include putting my arms out to the side, elbows level with or slightly above my shoulders, then bending at the elbow and lifting my hands so I look like a football goal post; I find a door and rest my forearms and palms on the jambs and gently lean forward. This gives a great stretch to the chest muscles, which tend to tighten up as I hunch over the computer.

Another great one: extend one arm straight out to the front at or near shoulder height, palm up; bend the wrist so palm is up and out, away from the body, and fingers point toward the floor. Use the other hand to apply gentle traction to palm and fingers for stretching. This may help relieve symptoms of carpal tunnel syndrome.

For any stretch, do what you are able and do not force a stretch, ever. Also, never bounce or apply jerky pressure to a stretch.

If you’re on a deadline or feeling pressured, take frequent breaks to roll your shoulders and roatate your head and neck. The best stress-buster of all? Hugs. You can’t find a better tension reliever than that.

Do you deal with other physical challenges as a result of your vocation as writer? Have any tips for the rest of us? Please share! I know I’m not the only one!

Great Opportunities for Members, But We Need Your Help!

December 14, 2012/3 Comments/in CWG member benefits, CWG Member News, CWG Needs Volunteers, Marketing Your Work, The Writing Life/by Karina Fabian

CWG members–we have some exciting programs that can only take off if we get volunteers. Please check these out, pray on them, and contact Karina at coordinator(at)catholicwritersguild.com

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First, ZENIT has asked the Guild for contributors. While this is a no-pay, it has a huge Catholic audience. We are speaking with them now about requirements, but in the meantime, we need someone who will coordinate contributors and liaise with ZENIT staff. We need someone who will be consistent and dedicated. It probably won’t take more than an hour a week, not counting time for writing your own articles.

Second, the Archdiocese of Indianapolis has asked about CWG developing some school programs. If you write for kids through high school, this could be an awesome op for you–and if it works out, we can take it nationally! Again, we’re talking to the principals to find out their needs, but in the meantime, we need someone to coordinate. This will require some work at the forefront, but in time, it should start moving pretty automatically.

Want CWG stuff? We’re looking at starting a CafePress or Zazzle store, but we need someone to run it—basically checking on it now and again, adding stuff, etc. After the initial set-up, it won’t take much time at all, maybe an hour a month, tops, but this could be a great money-making opportunity for us–plus it’s a chance for us all to get CWG stuff!

We’re very sorry to say that our news coordinator, Annette Tenny needs to bow out because of health issues. Please pray for her! In the meantime, please welcome Karl Erickson, who is stepping up to fill this role. Thanks, Karl.

Query Letters – How to write a good one

November 27, 2012/25 Comments/in Catholic Writing and Publishing, Encouragement for Writers, Fiction, Marketing Your Work, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

You’ve just typed The End on your manuscript, your gloriously awesome book that’s going to rocket to the top of the New York Times best seller list! Editors are going to line up at your door, fighting to be the one privileged enough to publish your work. Thousands of people will stand in line for your signature at book signings, and you’d better clear your schedule for the television talk show circuit. Oh, and make sure your bank account is big enough to hold all the moolah that the USPS is going to deliver to your door. You are on your way, baby!

Except…no one is knocking. In fact, no one is even lurking in the shrubbery. And when it comes down to details, you’re not entirely sure how to get the attention of those New York editors, or even agents. You’ve been talking up your project to all your relatives, your friends, even your acquaintances. You’ve let a select few read your work (you deserve to be paid for it, after all!), and they rave about it! Why, it’s better than (fill in the blank with your favorite—and very rich—author)!

What to do???

This is what: set up a systematic, professional plan for querying.

It’s going to require hard work, persistence, and a thick skin to sell your work. If you do this part right, you’ll have a much better chance of actually getting published. And if your work rises above the fray, you may make it to that rarefied atmosphere of best seller-dom. If you do it wrong, you’ll get nowhere in traditional publishing.

A query letter, whether submitted via email or hard copy, is a one-page business letter with a fairly standard format. It is brief, professional in tone, and your only chance to connect with some agents or editors. Let’s look at the elements of the letter, and some common pitfalls to avoid, as well:

Research your targeted agent/editor. Make sure s/he is interested in the type of project you are pitching. Don’t send your speculative fiction to an agent who represents cookbooks and memoirs. Make sure they are accepting new clients. Then, send an individually addressed letter to the specific person—and spell their name right. The advent of email queries has tempted too many authors to try the ‘Dear Sir or Madam’, multiple-recipient approach. Sound like spam to you? It does to the recipients, and most delete without reading. I can’t stress these items strongly enough. I follow several agents on Twitter, and the biggest reasons for not reading past the first paragraph of the query letter are included in this list.

Cutesy doesn’t work. Use white paper if submitting via hard copy, or no background wallpaper on your email submission. Use standard fonts and font sizes. Times New Roman 12 works well; beautiful flowing script fonts don’t. Remember, this is business—on your end and on theirs.

Pitch finished projects. Keep in mind agents get thousands of queries a month. An unfinished manuscript isn’t competitive.

Only include personal information as it relates to your project. Your family, hobbies, other career, etc., are not fodder for this letter. If your story has strong elements that include fighter pilots or dulcimer players, and you are a fighter pilot or a dulcimer player, then include that; otherwise, as fascinating as your background is, it’s irrelevant. Also, resist the urge to say that your mother (or best friend, or spouse, etc.) thinks yours is the best book ever. Let the agent or editor be the judge.

Do include any writing credits. I’ve had interesting responses with this. At a pitch session for book length fiction, I sat with one editor who literally wadded up my nonfiction writing credits and threw them away. Clearly, he was unimpressed. However, the next editor was quite taken with the same information and spent time exploring it. Those credits lifted my submission above the standard in her mind. Bottom line: it doesn’t hurt to include writing credits. At the very least, it demonstrates that another editor somewhere thinks your work is worth publishing, and that you have experience with the editorial process. Always list membership in writing organizations and contest wins or placements. Again, some agents/editors value this more than others. But if you don’t toot your own horn, they’ll never know.

Keep it professional and polite. A query letter is a great place for confidence, but not such a good place for an overinflated ego. If you have a critique group, run your query letter past them. Sometimes they can see an area you need to emphasize more, or can suggest better wording. As an aside, one of my critique partners discovered she was pitching the wrong aspect of her story. Once she corrected that, her queries began getting responses.

So the basic format is:

Dear Ms. Specific Name Spelled Correctly,

I am seeking representation for my completed, xxx-thousand computer word count (name of genre) manuscript, Best Book Since War and Peace, set in (time, place). (If the story has a theme that is unique, you may wish to include it here.)

The next two paragraphs are like the back cover blurb would be for the book. Generally, one paragraph for the main character, the second for the other lead. Go to the bookstore (or your private library) for examples. Your goal here is to give a solid sense of the plot, a taste of your voice, but not a synopsis with lots of details or the resolution of the story.

The fourth paragraph will list your writing credits.

Close with a polite ‘I hope to hear from you soon’ and make sure to include your contact information.

Keep a spreadsheet or record of your queries. Make notes; don’t be afraid to follow up after a reasonable time (usually listed on the website), but don’t stalk. The publishing community is a small one; take care to develop your reputation as one of consummate professionalism. Divas and stalkers have no place in the business.

Query. A lot. Set aside time, set a specific goal, and keep the queries flowing. Follow the submission guidelines on the websites; they differ. Evaluate your responses and adjust future queries accordingly. But keep at it. And continue to work on improving your craft. If you’ve significantly revised and improved a project, don’t be afraid to re-query. Agents and editors really are looking for great stuff to publish. Give your work its best chance to catch their eye.

There are lots of sites and books out there that are great resources. Check with your writing organization for reputable agents, and make sure agents you query are members of the Association of Author’s Representatives. *No legitimate agent will ever charge a fee for reading your work.

What have your experiences with querying been like? Any advice? Questions? I hope this post helps rocket your work to the status of ‘sold and published’ – and best seller-dom!

Gotcha! Hooks: What They Are and How to Create Page-Turning Fiction

October 23, 2012/10 Comments/in Catholic Writing and Publishing, Editing, Encouragement for Writers, Fiction, Self-Publishing, The Writing Life, Writing Tips and Tricks/by Leslie Lynch

What’s a hook??? I admit to scratching my head over that term, and for a much-too-long time. I would hear it when people were discussing top-selling novels; I’d see it in articles about the craft of writing. It was a frequent comment from my critique partners. “Not much of hook there, Leslie.” (Insert visual of me scratching my head. Again.) They tried to explain it to me: Leave the reader hanging at the end of the chapter. An unanswered question. A cliffhanger.

Well, that was all fine and dandy, except I didn’t get the concept. Until our critique group got down to business and I began to evaluate other people’s unfinished work. Over time, I began to recognize when the end of a chapter or scene felt flat. I began to see how they worked through the process. And then when I saw what my fellow writers did to spice up the work, it finally began to make sense. The final piece of the puzzle fell into place for me when I read James Scott Bell’s Elements of Fiction Writing – Conflict & Suspense.

The basic idea is to end a chapter with the character facing peril of some sort, whether an internal conflict or an external plot development. The higher the stakes for the character, the better. In fact, Bell suggests the character must face death in some form – physical, psychological or professional. Of course your story isn’t filled with melodramatic, overblown situations, but each character must have something crucial at stake in each scene. By setting it up so someone is forced to face failure at some level, and then leaving the conflict unresolved, you create a hook.

Hooks come from disaster (Bell’s death) looming, occurring, or simply being implied. The hook can be expressed through dialogue, as a plot twist, as emotion, or via action. The hook can be an actual question, although I’d caution you to use that technique sparingly. I read a book once that ended every chapter with a question, and it felt like old-fashioned middle grade fiction. It didn’t work so well in an adult novel. Whatever method you chose to create a hook, take care to do it in a way that doesn’t leave the reader feeling manipulated. That usually has the opposite effect from what you intend!

One of the most common errors is the form that many of us learned in school: To write each chapter with a beginning, a middle, and an end. This works for nonfiction, but if you want a fiction reader to say “I couldn’t put it down!”, try ending the chapter a paragraph or two early. You’ll be surprised at how well this simple technique works. Then use that bit as the beginning of the next scene.

Go to your personal library of favorite books, or to the library or bookstore. Page through your favorite authors’ work and read the last paragraph of each chapter. You’ll get a solid sense of what creates a hook in short order.

It’s always a question that leaves the reader wanting—no, needing to know what happens next??? Whatever you do, don’t answer the question until the end of the book! Well, you can answer bits of it as you go along, but don’t answer the main question of the book until the end.

Hopefully, the result will be an ocean full of readers happily chasing the hook you’ve dangled – and saying, “That book was so good, I couldn’t put it down!”

How do you define a hook? What’s your approach to creating one? Share your favorite technique!