When I started writing I was teenager. I couldn't escape the ideas that brewed in my mind. I had to get them on paper. I had to write. It was an escape, an outlet from the small tragedies of adolescence. I didn't know much about prose, voice, plot structure, the different kinds of characters and all the other things writers have to worry about, especially in the editing phase. I didn't know the exact meaning of every element, but some came naturally. I suppose that's where talent came in.
Once I made the crazy conscious decision, "I want to be a writer," I became more serious about structure and genre. I wanted to be a novelist. This happened in my early 20s. The stories building in my head became books (books I started, yet never finished). I don't know how many documents I had, notebooks filled with ideas, outlines, beginnings, character descriptions. There were several stacking up in the corner of my room, on my computer. I still have that today, but I'm a little more disciplined .
Learning by mistake is definitely a main method of learning. As a novice writer I made a lot of mistakes. One of my first, and biggest, mistakes was prose. I think other writers can identify with this. My prose was rich, thick, stuffed fat with pretty words that sounded appetizing, to me anyways. The term is flowery prose, or purple prose. Some call it dirty prose. Learning about prose and how to keep it clean, how to choose the right words, wasn't the easiest transition. I wanted to write how I wanted. And I could, but if I want to sell my writing and have readers, I needed to scoop out the slush. I'm still learning about prose, how to tweak it to best fit my story, my characters, and my readers.
I'm embarrassed to admit this one, but just a couple of years ago I learned what passive voice was. I posted the first chapter of my second novel on a critique site and my very FIRST line was written in passive voice. People were asking, "Why did you start out with passive voice?" Uhm....I don't know, because I didn't know it was. Well I learned. I learned it was a big no-no, unless used sparingly for certain emotional impact.
Another way to keep learning is to read craft books. I like to read them once in awhile. Most of them say the same things, but in different ways. I recently read Nathan Bransford, How to Write a Novel. It was good, straight to the point. Plus it's nice to hear it from someone who not only writes but once worked as an Agent. Agents are the gatekeepers! One of my favorite craft books is called 45 Master Characters: Mythic Models for Creating Original Character, by Victoria Schmidt. I love the way she uses ancient gods and goddesses to create character arcs. If you like craft books, especially ones pertaining to character development, it's definitely worth the buy!
As writers we never stop learning. We never stop attempting to perfect our craft. It's a humble experience, especially when you think you know your stuff and another writer blows you out of the water. I've there, done that (not as the knowing writer). I know as I keep writing I will keep learning. I will keep making mistakes. One of my favorite ways to learn is from other writers, from their experiences. It's the main reason I started this blog, to share my experiences. I'd love to hear back from other writers on their learning experiences, whether you are just starting out, or been in the game since you can remember.
Tuesday, February 25, 2014
Saturday, February 22, 2014
Don't Spam, Create Positive Associations
Lately I've been thinking about spamming. I've never spammed for attention, but it seems to be an issue amongst the writing community. Writers want to get their work out there; to be seen, known, read, but they do it in a Sheldon knock-knock way. Buy my book. Buy my book. Buy my book. Check out my book. Check out my book.
I've been weary of how much I should post about my book on social networks. I want people to know I'm a writer and my book has been published and if they're interested in sci/fi fantasy with a sub genre of romance, please check it out. I don't want to overstimulate potential readers to the point they disregard my book posts because it's nothing new. Plus I don't want people to think I'm obnoxious.
My last blog post highlighted some of the content in the book Secret Formulas of the Wizard Ads. The author, Roy Williams, writes about associative memory, and how powerful it can be when promoting yourself.
I dove deeper into the subject. Associative memory in psychology is classical conditioning. I studied this form of learning extensively while obtaining my BA in psychology. I didn't think much of it then, just another way organisms, whether human, canine, or any other creature can learn.
When making posts you want to produce an emotional response from readers, whether it's a blog post, social network post, or any other way you are attempting to share yourself. Repetition is also important, but not in a spammy way. Instead of making a post saying "buy my book" say something about writing, about yourself, about another book that you know will produce positive feelings from others. As time goes on others will associate you and your work with positive emotion, which could lead to more book sales.
Here's an example of classical conditioning that gets me every winter. It isn't about writing, but it's about selling. I am not a soda drinker, but occasionally I like to enjoy a fizzy beverage. Coke and their dang polar bears! I see a commercial and I HAVE to have a coke (This happened much worse when I was pregnant). The cute polar bears create a positive emotion which in turns creates positive emotion toward the coke product.
You can do this with your work. Instead of leaving a post with a link to your book, post something positive about the writing process, a funny quote, an experience you've had as a writer that other writers can identify with.
References
Williams H., Roy. Secret Formulas of the Wizard of Ads. Austin, TX. 1999
Lybarger, Matt. Classical Conditioning: It's Use in Marketing. (No Date) Online: http://teachers.sduhsd.k12.ca.us/jetheridge/Psychology/Classical%20Conditioning%20marketing.htm
I've been weary of how much I should post about my book on social networks. I want people to know I'm a writer and my book has been published and if they're interested in sci/fi fantasy with a sub genre of romance, please check it out. I don't want to overstimulate potential readers to the point they disregard my book posts because it's nothing new. Plus I don't want people to think I'm obnoxious.
My last blog post highlighted some of the content in the book Secret Formulas of the Wizard Ads. The author, Roy Williams, writes about associative memory, and how powerful it can be when promoting yourself.
I dove deeper into the subject. Associative memory in psychology is classical conditioning. I studied this form of learning extensively while obtaining my BA in psychology. I didn't think much of it then, just another way organisms, whether human, canine, or any other creature can learn.
When making posts you want to produce an emotional response from readers, whether it's a blog post, social network post, or any other way you are attempting to share yourself. Repetition is also important, but not in a spammy way. Instead of making a post saying "buy my book" say something about writing, about yourself, about another book that you know will produce positive feelings from others. As time goes on others will associate you and your work with positive emotion, which could lead to more book sales.
Here's an example of classical conditioning that gets me every winter. It isn't about writing, but it's about selling. I am not a soda drinker, but occasionally I like to enjoy a fizzy beverage. Coke and their dang polar bears! I see a commercial and I HAVE to have a coke (This happened much worse when I was pregnant). The cute polar bears create a positive emotion which in turns creates positive emotion toward the coke product.
You can do this with your work. Instead of leaving a post with a link to your book, post something positive about the writing process, a funny quote, an experience you've had as a writer that other writers can identify with.
References
Williams H., Roy. Secret Formulas of the Wizard of Ads. Austin, TX. 1999
Lybarger, Matt. Classical Conditioning: It's Use in Marketing. (No Date) Online: http://teachers.sduhsd.k12.ca.us/jetheridge/Psychology/Classical%20Conditioning%20marketing.htm
Wednesday, February 19, 2014
Invigorating Words
I've been skimming a marketing book called Secret Formulas of the Wizard of Ads written by Roy H. Williams. It's an interesting collection of business and marketing tid bits that read like blog posts. I bought it at this wonderful used book store in my town called The Book Exchange. Its cover resembles a spell book that contains secrets and magic and the inside pages give off the same old mystical feel.
As I was page jumping I came upon a section titled "Surprising Broca". I didn't know what that meant, but I kept reading. It turns out Broca is in an area of the brain, located in the left frontal lobe that is responsible for language. After further reading and research I learned another part, called Wernicke's area. This area is responsible for assessing a words significance, which is then transported to the Broca area for further evaluation. Williams states in his book, "Broca energetically generates verbs, enthusiastically constructs sentences, and anxiously anticipates what others are about to say. (p52)"
Williams goes on to talk about how as humans we tune out language that is familiar to us. As writers, the term cliché may come to mind. We can write a passage that contains description that has been used several times; to explain a setting, a woman, the way a kiss feels, but if our readers have known the same descriptions their attentions may divert, and their hands may close the book. Our brains have expectations for words and the way they are used, or paired with other words. Its like going to same mundane job everyday, performing the same mundane tasks, but if there's suddenly a new boss who wants to give everyone a raise, attentions perk, excitement bubbles.
As writers we want to surprise our readers, titillate their imaginations, keep their eyes gobbling up word after word. As I read some of the passages in Williams' book, which focuses on using words to market, I can't help to correlate so much to the craft of writing fiction (and other genres as well).
We color with words. We choose our crayons carefully, creatively, sometimes rationally, sometimes irrationally. We want our voices to flow with power and individuality. We have to think of fresh ways to describe, characterize, and plot. In the first part of Williams' book he states,
Words are electric: they should be chosen for the emotional voltage they carry. Weak and predictable words cause grand ideas to appear dull that they fade into the darkness of oblivion. But powerful words in unusual combinations brightly illuminate the mind.
Secret Formulas of the Wizard of Ads is book that focuses on marketing, but its a great read for writers, who not only want to create electrifying work, but who want to succeed at promoting it!
Reference: Williams H., Roy. Secret Formulas of the Wizard of Ads. Austin, TX. 1999
As I was page jumping I came upon a section titled "Surprising Broca". I didn't know what that meant, but I kept reading. It turns out Broca is in an area of the brain, located in the left frontal lobe that is responsible for language. After further reading and research I learned another part, called Wernicke's area. This area is responsible for assessing a words significance, which is then transported to the Broca area for further evaluation. Williams states in his book, "Broca energetically generates verbs, enthusiastically constructs sentences, and anxiously anticipates what others are about to say. (p52)"
Williams goes on to talk about how as humans we tune out language that is familiar to us. As writers, the term cliché may come to mind. We can write a passage that contains description that has been used several times; to explain a setting, a woman, the way a kiss feels, but if our readers have known the same descriptions their attentions may divert, and their hands may close the book. Our brains have expectations for words and the way they are used, or paired with other words. Its like going to same mundane job everyday, performing the same mundane tasks, but if there's suddenly a new boss who wants to give everyone a raise, attentions perk, excitement bubbles.
As writers we want to surprise our readers, titillate their imaginations, keep their eyes gobbling up word after word. As I read some of the passages in Williams' book, which focuses on using words to market, I can't help to correlate so much to the craft of writing fiction (and other genres as well).
We color with words. We choose our crayons carefully, creatively, sometimes rationally, sometimes irrationally. We want our voices to flow with power and individuality. We have to think of fresh ways to describe, characterize, and plot. In the first part of Williams' book he states,
Words are electric: they should be chosen for the emotional voltage they carry. Weak and predictable words cause grand ideas to appear dull that they fade into the darkness of oblivion. But powerful words in unusual combinations brightly illuminate the mind.
Secret Formulas of the Wizard of Ads is book that focuses on marketing, but its a great read for writers, who not only want to create electrifying work, but who want to succeed at promoting it!
Reference: Williams H., Roy. Secret Formulas of the Wizard of Ads. Austin, TX. 1999
Tuesday, February 18, 2014
Market Stress
Market yourself. Create an author platform. Tweet, tweet, tweet. Facebook! It can be stressful,
especially if you just want to write. You get on your computer to do a little
social networking, maybe work on your blog/website, some market research and
before you realize you’ve been online for hours. Maybe you really wanted to use
those hours to write.
In
today’s technical atmosphere it seems you can’t have one without the other. If
you want to be a writer (sorry, a selling writer, whether you are
self-published or have a publisher), you have to get online and market
yourself. People have to know about you to read your work. And to be fair,
several writers have benefited from online marketing. They swear by Twitter and
Facebook. I’ve read a ton of online articles and blogs focusing on how to use
the internet to market yourself and your work. It’s hard work. It’s time consuming.
But it seems to be a necessity. I say ‘seems’ because I can’t speak for every
writer.
I was reading a couple of articles about Nora Roberts and her process. She writes and then hands her work over to her agent and editor and they work their magic. Of course Nora Roberts already stands on a gigantic platform she built over 20 years ago, when the internet didn’t exist.
I’ve came across other information on how a writer should brand herself. Writing isn’t just this beautiful creative process, its business, and as writers we must embrace both. I can’t help but to wonder where we draw the line between writer and marketer, if there even is a line to be drawn. Maybe it’s more like playing hop-scotch, some square representing writing and some marketing. We keep jumping from one to the other.
I was reading a couple of articles about Nora Roberts and her process. She writes and then hands her work over to her agent and editor and they work their magic. Of course Nora Roberts already stands on a gigantic platform she built over 20 years ago, when the internet didn’t exist.
I’ve came across other information on how a writer should brand herself. Writing isn’t just this beautiful creative process, its business, and as writers we must embrace both. I can’t help but to wonder where we draw the line between writer and marketer, if there even is a line to be drawn. Maybe it’s more like playing hop-scotch, some square representing writing and some marketing. We keep jumping from one to the other.
Thursday, February 13, 2014
Writer's Intuition
While writing, plotting, creating characters, and all of the above when it comes to building your novel, do you get that nudge from within, telling you something isn't fitting right? I get it from time to time, well several times actually. Sometimes I listen, sometimes I ignore it. It's best to listen, but sometimes your too tired and you just want to get words on the page, and you think I can make changes later; which you can. Writing is much more than just the first draft. I think we've all heard the real writing begins at the edit. I somewhat believe that, but I do so much writing during the first draft, I don't think the edit could compare. I am also a write who edits as I go, so that probably helps.
I am curious to what other writer's intuitions tell them. I get the nudge if I feel like something sounds cliché, rather it's a sentence or a block of the plot. They all say, and when I say 'they', I mean every how too writing book/article/blog written, to avoid clichés like the plague, sooo cliché, right?. I would say I try avoid them like when I'm at the grocery store and I see someone I know, but I don't want to talk to them, or make eye contact because then I'd have to stop and talk to them. That's when I will skip aisles and go back, making more time for myself at the store, which I end up being in longer than I want (and spending more too).
Another poke I will get is when a character's personality traits aren't adding up, or they are too flat. You have the character in your head, exactly how you want them to be, how they speak, dress, but sometimes its hard getting them to fit. Often I will hit the drawing board (cliché too, right?) and start again, diving into the character and fleshing him out as best as I can. I worked on a ghostwriting project recently, and I just couldn't get the main character to be the guy I wanted him to be. I had to go back several times and poke at him.
I have a difficult time with endings. Even in college I dreaded the conclusion when writing a paper. I get kicked instead of nudged around this time. I usually have to take a step back, maybe shelve the story for a week or so and let it come naturally. Forcing it never works.
I am curious to when other writer's feel the nudge? What makes you take a step back and think this part/character/plot point is wrong. It doesn't fit. How do you get it to fit?
I am curious to what other writer's intuitions tell them. I get the nudge if I feel like something sounds cliché, rather it's a sentence or a block of the plot. They all say, and when I say 'they', I mean every how too writing book/article/blog written, to avoid clichés like the plague, sooo cliché, right?. I would say I try avoid them like when I'm at the grocery store and I see someone I know, but I don't want to talk to them, or make eye contact because then I'd have to stop and talk to them. That's when I will skip aisles and go back, making more time for myself at the store, which I end up being in longer than I want (and spending more too).
Another poke I will get is when a character's personality traits aren't adding up, or they are too flat. You have the character in your head, exactly how you want them to be, how they speak, dress, but sometimes its hard getting them to fit. Often I will hit the drawing board (cliché too, right?) and start again, diving into the character and fleshing him out as best as I can. I worked on a ghostwriting project recently, and I just couldn't get the main character to be the guy I wanted him to be. I had to go back several times and poke at him.
I have a difficult time with endings. Even in college I dreaded the conclusion when writing a paper. I get kicked instead of nudged around this time. I usually have to take a step back, maybe shelve the story for a week or so and let it come naturally. Forcing it never works.
I am curious to when other writer's feel the nudge? What makes you take a step back and think this part/character/plot point is wrong. It doesn't fit. How do you get it to fit?
Tuesday, February 11, 2014
Words of Encouragment by New Author, Chris Reardon
As if writing a whole book wasn't hard enough, now you have to work to get it a publisher!
The first real step, at least for me, was writing the query letter. I really disliked this part, because I couldn't possibly imagine cutting my story into a couple paragraphs. Even along with that, I couldn't imagine how to "pull" or "hook" them into it with just a few lines. Everyone has their own opinions of how to do this, and most of them contradict each other anyway. So you really just have to do the best you can.
The synopsis (2-3 page summary) was just as annoying! Once again, I hated the idea of condensing my over 70K book into 3 pages, but, it's what a lot of them want. So, I had to somehow merge the whole beginning, middle, and end into it.
After submitting to publishers I found via Google, (for my genre, fantasy) the most annoying part came. WAITING! I understand they get a lot of queries, but many of them seriously make you wait over 3 months for a response! I guess there's no way around that with all the queries they get.
So, despite the work required, you can do it! No matter what response you get, many are willing to give you some tips on what to improve with your book, query, synopsis, etc. until you get accepted. Keep at it!!
Thank you, Chris!
The first real step, at least for me, was writing the query letter. I really disliked this part, because I couldn't possibly imagine cutting my story into a couple paragraphs. Even along with that, I couldn't imagine how to "pull" or "hook" them into it with just a few lines. Everyone has their own opinions of how to do this, and most of them contradict each other anyway. So you really just have to do the best you can.
The synopsis (2-3 page summary) was just as annoying! Once again, I hated the idea of condensing my over 70K book into 3 pages, but, it's what a lot of them want. So, I had to somehow merge the whole beginning, middle, and end into it.
After submitting to publishers I found via Google, (for my genre, fantasy) the most annoying part came. WAITING! I understand they get a lot of queries, but many of them seriously make you wait over 3 months for a response! I guess there's no way around that with all the queries they get.
So, despite the work required, you can do it! No matter what response you get, many are willing to give you some tips on what to improve with your book, query, synopsis, etc. until you get accepted. Keep at it!!
Thank you, Chris!
Writing for Effect
As writers we obviously write for effect. We want readers to feel certain things, to become attached to our story, characters, and style. As we write we wonder how to create such magic. How do we get our audience to keep the pages turning. We've all heard the phrase "the book is a real page turner." But what does that actually mean? What components make a book a page turner? Here's some ideas to play with.
1. Suspense. Creating suspense is one of the best ways to keep your reader engaged. I was watching Charlie and the Chocolate Factory (the first one) and as I watched Charlie all bummed out because he never got the gold ticket I kept thinking, the writer of this script really made Charlie go through a heap of emotional turmoil before he got his ticket. By making your character experience emotional heaps you can keep your reader engaged. But you have to be careful to maintain balance. Not every page has to be a mountain of tension.
2. Shock factor. Today the shock factor seems to be a trending element, in books, television and movies. By shocking your readers you can create the need for more. I recently became attached to American Horror Story: Coven. It was the shock factor that kept me watching, and the same with Sons of Anarchy. The shock factor of 50 Shades of Grey kept women all over the world turning pages like Johnny 5 from Short Circuit. George R. R. Martin shocked his readers by killing off main characters. But just like suspense there's a need for balance. I think with balance you can play with your readers emotions just as well with any other 'pager turner' component.
3. Foreshadowing. We use foreshadowing to tell of something coming, to excite the reader of what may be. This can be a fun tool, but you don't want to give away too much. Foreshadowing can also be used to connect plot points, especially in thriller novels when you create a twist later in the plot.
4. Keeping it real. Whether you are writing science fiction, fantasy, romance, or literary fiction you have to keep it real. You can create an alien nation on a distant planet, but make sure all of your creative genius adds up.
5. Great characters. Creating deep characters with authentic personality isn't always the easiest task. You have them in your head and they are great: the hero, the heroin, and secondary characters. The look good, they sound good. You feel like all their dynamics are ready to explode on paper, but as you get through a few chapters your explosive personalities fall flat. This happened to me recently with a character I created for a ghostwriting job I had. After researching his personality type and making lists of characteristics and traits (some I might not even use in the plot, but gave me a better idea who this guy was) I was able to beef up his character.
I know there must be more ways to initiate attachment with your readers, but these are the first 5 that come to mind. Of course there's the showing instead of telling, but I maintain my notion that balance of all of these components keeps the reader engaged and reading. I would love to hear from others who have more ideas on writing for effect.
Friday, February 7, 2014
Publishing with an ebook publisher: some things to know
Getting published is every writer's dream. We write, we dream, we write, and we dream. The dream varies, and not to generalize, but most of us writer's want a contract with one of the big publishers. I've read blogs and articles how some writers will make a list, topping it with their "most wanted". Once the bigger publishers reject your great idea, slip down to the smaller ones. Within the list there could be an eBook publishing company. It was in mine and I ended up publishing with that company. I learned much from publishing with an eBook publisher, and like with any publisher, I am sure there is the good and the bad.
1. It's easier to get published with an eBook publisher. They take on many more authors than other publishers do because the monetary risk is smaller. They don't have to pay to print thousands of books and if they do offer paperback it is POD (print on demand). My publisher did pay for an editor and for the cover design.
2. If you publish with an epublisher, using that credential could hurt rather than help in an attempt to get an agent or publish with a larger house. Of course you'd want to add your novel to your publishing credits, but several agents and publishers often look at epublishing like they do self-publishing. I was online searching for an agent to represent my next book. Several of them said not to list works published by eBook publishers or POD publishers. This poses the question, do I tell other potential agents or publishers about the book I wrote and was published? I thought, well that's not fair. I worked my butt off on my book. I should be able to add it to my credentials. I still wonder what's best on that one. I guess the work you are querying should speak for itself.
3. I don't know about all epublisher, but most don't pay an advance. They pay royalties only.
4. You are probably going to have to do most if not all of your marketing. This doesn't go just for epublishers but bigger publishers as well. No matter where an author publishes they have to do the bulk of the marketing.
5. Just because it's an eBook publisher doesn't mean you don't have to do a great job trying to sell your book. The guidelines for my publisher were tightly tailored. On top of query letter, synopsis, and completed MS, I had to have a business plan and author website.
These are things I have learned publishing with an eBook publisher. I am sure other authors have had the same and different experiences. Today writers have many more options when it comes to getting their books published. Epublishing is one way to go.
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