Tag Archive for: writing tips

On writing…better!

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Pile of BooksWhat 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!

Dismantling Writer’s Block

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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!

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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

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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

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Spring Break Joy from morgueFile Free Photos - clconroyMy 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!

Query Letters – How to write a good one

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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

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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!

Tag! You’re It! Writing Dialogue in Fiction

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 “Hi, Beth,” waved Justin.

“Why, Justin, I haven’t seen you since our high school prom six years ago, the one where our mutual friend, Erik, got suspended for spiking the punch,” gushed Beth.

“Ho, ho,” chortled Justin. “Those were the days! He went on to become a successful, if whacky and innovative executive with an online social network. What have you been doing since then?” he queried.

“As you know, my family life was difficult and I had many obstacles to overcome, but I triumphed by speeding through college in record time, completing my undergraduate, double major degree in only two years, and am graduating from medical school next week,” Beth elaborated.

Are you bored yet? Grinding your teeth and wanting to throw this story across the room? I am; it was painful writing it!

Good dialogue can carry a story; conversely, badly written dialogue can sink one faster than the Titanic’s spectacular and ignominious end. Many resources are available, from Renni Browne and Dave King’s Self Editing for Fiction Writers, Second Edition to Write Great Fiction: Dialogue by Gloria Kempton, and more. If a good book on the craft of writing dialogue doesn’t reside on your shelf, I strongly suggest you consider acquiring one.

Let’s examine this fragment to see why it’s so grating. There are four issues here: dialogue tags, stilted language, indistinct voice, and information dump.

Dialogue tags are the words we use to indicate that a character is speaking. When I wrote the first draft of my first novel, I spent hours dreamily staring into space while trying to conjure the cleverest dialogue tags ever. My characters retorted, snorted, coughed, shivered and quivered their lines. After reading the above example, you can see how awful it was!

In reality, you only need a few simple guidelines.

1. Use the word ‘said’ whenever necessary. It’s an almost invisible word to the reader, whereas all the chortles, queries, etc. do nothing but draw attention to the author—not the story. The author should be entirely invisible, and your goal is to keep the reader engrossed in the story, not yanked out by strange word choices.

2. Keep in mind that physical actions are not involved in uttering speech. Rather than succumb to the temptation of using the action as a tag, use it in a separate sentence as a ‘beat’ that reveals body language and moves the story forward. For example: Justin pulled up short when he recognized the woman approaching him. A spurt of pleasure shot through him, and he waved. “Hi, Beth!” (Note how this example could go any number of directions. Maybe he wanted to avoid her, but couldn’t; maybe his response is anger over an unresolved conflict. Whatever the case, the greeting becomes much more complex and compelling.)

3. If only two persons are involved in a stream of dialogue, omit tags entirely. This works especially well when the characters’ voices are so different that it is obvious who is speaking by their speech patterns. But don’t be afraid to add an occasional beat to keep it clear for the reader.

Which leads us to stilted language and indistinct voice.

The best way to avoid stilted language is to read your dialogue out loud. If it feels or sounds awkward, change it. Each character should have distinctive speech patterns, too; make sure the words and delivery you choose remains authentic to the individual character. As you read the dialogue out loud, it should be obvious which character is speaking at any given time. Let’s make Justin a Texas cowboy and Beth a California Valley girl (yes, I know I’m dating myself, but it’s an easy ‘dialect’ to show for our purposes).

Now we have: A spurt of pleasure shot through Justin when he recognized the woman approaching him on the sidewalk. He whipped off his ten-gallon hat and waved. “Howdy, Beth! I ain’t seen you for a coon’s age.”

Beth, preoccupied with her Smartphone, lifted her gaze. A smile wreathed her face and she squealed. “Ohmygosh! Justin! It’s been, like, too-too long! Since high school?”  As you can see, these two wildly different styles will never overlap in dialogue. Not all characters will be such polar opposites, but if you give each character a distinctive voice, whether through style (i.e., women tend to use longer sentences, while men tend more toward brief statements) or specific verbal traits, it will strengthen both their characterization and their dialogue.

A word about foreign words and idioms: a little goes a long way. If your character is fluent in French and sprinkles French phrases into her speech, limit those to one every few pages. If a character’s speech is very back-woodsy and old fashioned, pick one word to highlight that pattern and write the rest in ‘regular’ English. For a southern drawl or an Irish brogue, use that as a descriptor outside of the dialogue and use word choice and placement to reinforce the pattern. Trust your reader to catch on. They will.

Last: information dumps. This is where characters bring in information that the author wants the reader to know but doesn’t have an organic way to get it across. Hence, awkward dialogue that no one in real life would use, such as: He went on to become a successful, if whacky and innovative executive with an online social network.

When you find those in your writing, ask yourself if the information is truly important. If so, is it crucial at this point in the story? If yes, then find a more relaxed way to get it into the story, either as internal dialogue (Beth’s mind went back to the last time she’d seen Justin. The high school prom. The one where Erik had been suspended for spiking the punch. “Justin! It’s been years!”), or in more natural sounding dialogue (“Justin! It’s been years!” Beth’s face heated at the memory of their high school prom. “I’m still embarrassed at how I acted after—“ She broke off her sentence, and Justin, grinning, finished it for her. “After  Erik spiked the punch.”

Dialogue can make your story sing, and those who can do it well often do well on other aspects of the craft. As a plus, the more of your story you can tell via dialogue, the better the structure will be, so it’s worth the effort to improve your skills in this area.

What are your tricks or tenets about writing dialogue? This has been a quick and dirty, and by no means comprehensive look at writing dialogue. Please share your experience!

 

 

Art and Faith, as They Intersect in Writing

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We recently observed the United States Conference of Catholic Bishops’ Fortnight of Freedom, and this might be a good time to look at writing as an expression of our journey and expression of faith.

Regular readers of this blog are most likely members of Catholic Writers Guild – which means we are Catholic, and we love to write. For many of us, these two passions intersect in what we write, as in blogs, articles, or books about being Catholic in today’s world. In nonfiction, this is straightforward. The audience and purpose of such works provide a framework for sharing both the writer’s journey and/or expression of a specific aspect of faith.

Fiction, my personal love, can be a bit trickier. How does an author express their faith within the conventions of their chosen genre? We’ve all read books where it’s done poorly, usually resulting in a preachy tone as grating as fingernails on chalkboard. I’m reminded of Barbara Nicolosi’s comment from the 2012 Catholic Writers Conference Online: My theory is that the secular world is not anti-Catholic as much as it is anti-bad art.

When viewed through that lens, our priority as writers or artists is to learn and hone our craft. It doesn’t matter how important our message is if it is badly executed. Read books on the craft of writing. Take classes. Ask for feedback – and listen to it. The most successful writers recognize that they need to continually strive to improve.

We also have a responsibility to learn and understand our religion. I’m preaching to the choir here, but there is always something deeper, more sublime, more elemental to discover about the challenges (and rewards) of being Catholic. We have to be well-catechized in order to articulate what we need or want to convey in written format.

The great news is, that in fiction, who you are will come out in your writing, even if you don’t spell out your beliefs in the imaginary world inhabited by your characters. Think of St. Francis of Assisi. Preach the Gospel at all times. If necessary, use words. Well, we can’t write without words, but we can write great fiction without being overbearing about our faith. Readers will accept just about anything in a character, as long as the character is authentic, has depth and complexity, and is true to his or her motivations, flaws and all.

We’ve all read stories where the characters act in ways that make us cringe or gasp or squirm, but we keep reading because the author has done such a good job.  We are eager to accompany the character on his or her journey. That’s our calling. To write so well that readers are willing to follow a character they don’t necessarily agree with because they want to better understand them.

I suspect most of CWG’s members pray before they write (or draw or make music or however we choose to create) and that’s where we all need to begin. Pray. Discern. Perhaps education or beauty is more important than exhortation. Keep in mind that your readers will not be in the same place you are on their spiritual journey – and we are all on a spiritual journey, whether we realize it or not. On a personal level, God has touched me through works of fiction in which I least expected to hear His voice. Never underestimate what He can (and will) do through us, whether or not we are aware.

Take courage, pray for the Holy Spirit’s guidance, and use the gift of talent with which God has graced you. Create art that illuminates a vision of God. None of us can see God, but we can express our experience, and the light we reflect may aid a fellow traveler in life.

Now. Words matter. Go forth, write and create, and bear fruit in a world that hungers for it.

How do you approach your craft in a way that changes our world? How does faith inform your art? Do you think of those concepts as you toil over the keyboard, searching for just the right word to express the idea in your mind’s eye? What gives you joy as you create?

Critique – Tips on how to do it well

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Critique – a word that often scatters writers like a firecracker tossed into a flock of sparrows! But it doesn’t have to be that way. Since critique groups are forming in the Catholic Writers Guild forums, this is a good time to talk about critique, namely, how to be a good critique partner.

Many writers shun critique groups – “I don’t want to write my book by committee” they say, or “My voice will become muddled, maybe even lost”, and worst, “Someone will steal my ideas”. But my experience, both in art and in writing, is that those fears are largely unfounded.

A good critique group will understand and strengthen your voice, your story.  They will support, encourage, and challenge you to produce the best writing of which you are capable.  No downsides here! So how do you make your critique group a strong one, even one of the best?

Let’s start at the beginning. Critique is not criticism. That’s so important it bears repeating: Critique is not criticism. Critique is an honest, considered response to writing, and always includes a suggestion for improvement, with the caveat that the author may choose to accept or reject the suggestion. It’s still their work, not yours. A good critiquer doesn’t hesitate to applaud writing that inspires or touches, either. We all need to hear the good stuff!

Honesty, never brutal and always delivered with respect, is crucial. These attributes must be integral to your group, or there is no point. Ego (pride) needs to be parked at the door, and humility exercised in both giving and receiving critique.

Keep in mind that no one knows everything about the craft of writing. In my group, one person has a superb sense of story structure, another of grammar, another of characterization and motivation, and another of beautiful sentences and word choices. Take all of those qualities, list the opposite weakness, shuffle, and dole out weaknesses to those same members – and there you have it. Our group. The person whose strength is story structure is abysmal at spelling and grammar; the one who has characterization nailed has a hard time with structure. And so on. Capitalize on each others’ strengths, admit your weaknesses, and be open to comments.

Now that we have an idea of some desirable qualities of a critique group, what next? Establish ground rules. The first one should always be: Try the group out, give it a fair chance, and then if it’s not a good fit, feel free to leave, without hard feelings. If it’s not working, gracefully bow out and seek a different situation.

Next, agree upon a schedule for meeting and for number of words submitted. Ask each member what type of critique they want, i.e., the forest (for instance, structure) or the trees (perhaps copy edits), then tailor your remarks to their needs. Our group has four members; we meet in person once a week; we aim for about ten pages per person; and since we meet on Tuesday, we expect words to be emailed to the group by Sunday evening so we have adequate time to look at the work. Occasionally someone has no words to submit, and that’s okay, although if two weeks go by, the other members begin to nudge and encourage productivity. Support and accountability all rolled into one package!

This, of course, requires that we commit to both writing the set number of pages or words and to critiquing roughly thirty pages per week for each other. Commitment to the group and the process is key for success. Obviously, an online critique group will be a bit different, but ground rules and commitment still apply. Remember that purely electronic communication is lamentably prone to misunderstandings, so overexplain your comments until a pattern of trust has been established.

In my group, we all write very different sub-genres of fiction, but that is not an obstacle. If we stick to the basics, we’ve discovered we can offer plenty to each other even if we don’t read young adult, for instance, or write in first person. You may choose to critique only with authors in your own specific genre, and that’s fine. But if you choose to critique with authors of other types of writing, you owe your partners the willingness to step outside your comfort zone so that you can understand the conventions of their choice.

A word about bad critique groups. There are as many reasons for failed critique relationships as there are combinations of personalities. Hallmarks to watch out for are the rare member who feels that s/he knows it all, or runs roughshod over the feeling of others. Jealousy is sometimes a factor, as is insecurity. There’s a difference between honesty and harshness. Good critique will generate great conversations, so if critique shuts down communication between members, it needs to be addressed.

Sometimes it’s hard to hear valid critique, and sometimes it’s hard to sort out valid critique from mean-hearted critique. The best advice I’ve ever heard? Learn to say “Hmm. Interesting point. I will think about that.” Then, when emotion has settled, review and perhaps seek another opinion before deciding how to proceed.

Overall, critique partnerships can catapult the level of your writing up a level or two in a very short time. You’ll learn a lot from critiquing your partners’ work, too, which will translate to better writing on your part. Partners can help troubleshoot and brainstorm. And as Catholic writers, we have a unique opportunity to practice the virtues of patience, compassion, humility, kindness, and love within the setting of critique. Honesty, respect, and commitment will help shed light on the errors we are too blind to see in our own work – and that is a very good thing.

What questions or concerns do you have about forming or joining a critique group? Do you have experience or advice to share? What do you hope to gain from the Catholic Writers Guild critique groups?

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