Tip O'Day #453 - The Bird is the Word

Guest blogger, author, life coach, and Toastmasters friend Sherri Gerek on humming right along.

A favorite quote of mine comes courtesy of Albert Einstein: “Look deep into nature and then you will understand everything better.“ I took this to heart these past couple of years as I meandered along an unseen path while writing my first book, The Hummingbird Way, Putting Hover, Zip, and Zoom to Work in your Life. I used my experiences with nature to draw correlations to human nature, often asking myself, what can I learn here? What might this mean to someone else?

After nearly thirty years in the corporate environment leading and developing employees in the travel and hospitality industry, I felt confident that what I had learned about communications and relationships could benefit others. I just had to find a way to share that knowledge, especially what makes us successful, and what it takes to foster good relations. As I transitioned away from the corporate environment to open my own coaching practice, I started the book. What I didn’t know then was that I needed a process for writing.

I smile thinking back to my initial approach. Let’s see, it’s Wednesday…I’ll write a couple of chapters today, and at this rate I will finish the book in a month. Now, you are likely reading this while wearing a knowing smile and thinking…this is not going to work that way. Right you are. When the end of the first week rolled around, there I was…staring at my computer still searching for the right words. In reality, I had the words but my internal editor was having a field day with my internal writer, which stymied the creative process. Why do editors do this to us writers? The difficulty getting started came down to my internal editor picking things apart, which resulted in my internal writer shutting down.

That’s it – writer on strike!

Once I realized what was happening, it was an easy fix. I had to find a new job for my internal editor, and I quickly assigned her to my monthly magazine column. Letting go of editing opened up this writer’s imagination. I began carrying a notebook with me because often the best inspirations bubbled up when I was far from the computer. Later, I would transfer ideas to sticky notes which I posted on giant story boards. Before beginning to write each day I would review the boards. Whatever happened to inspire me that day, I wrote about.

Not a month, but nearly a year later, I had finished the manuscript, cultivated a love for writing, and decided to create a series of books with themes drawn from lessons in nature. My internal editor and internal writer buried the hatchet and formed a great partnership. In fact, they are currently in discussions about the outline for the next book. It should be a real hoot! (Spoiler alert - there I go giving away the theme.)

Sherri Gerek is an author, speaker, certified professional life coach, and veteran sales and marketing director. Sherri wrote The Hummingbird Way to help guide other busy people, whether top executives or newbies starting to climb the ladder. You can learn more at Sherri’s website or on Amazon. Also, The Hummingbird Way was recently awarded 5 stars by Readers’ Favorite website.

Tip O'Day #452 - Lessons to Unlearn

Guest blogger Margaret Callow tells the lessons you must learn, and then unlearn.

What I know of the craft we call writing has been sourced to me by learning along the way. I’ve gathered up suggestions, advice and knowledge. Add to these copious reading. It seems there is not a writer around who is not willing to guide another, often based on their own ideas and assumptions. It is a support system I think most writers cherish. I know I do.

On the road to getting published, prospective friends are met, some only to be discarded. Others are kept and nurtured, like all good friendships. While always grateful for input and help from others, for me this is also a cautionary tale. Learning can be confusing. I offer you some simple examples. Beware of too many adjectives and adverbs; distance yourself from had and the; be warned of purple prose; never info dump; be wary of prefaces. No matter the genre, it all applies. If like me, you are a willing learner, all of this will be assimilated eagerly like food for a hungry chick in a nest, but here’s my dilemma: be ready to throw it out the window at a moment’s notice.

There will probably be many experienced writers who on reading this will nod knowingly, but I am sure there are some less confident who like me have had quite a rude awakening. Or is it only me? Surely not. When my first novel was picked up with an offer to publish, I spent many a weary hour with the editor writing back in all the missing hads, extending description, adding adjectives and adverbs which I had so carefully avoided, and numerous other small adjustments which I had considered no-no's.

Please don't take this as any form of criticism of the editor, far from it. So grateful was I that she liked my work, I would have gladly written these things in my own blood, had she asked.

So for any would-be writers out there, just remember nothing is written in stone. Personal preferences often play a part in editing. Hopefully, just as you know the story you wish to tell, so your editor knows all about editing.

Learning never stops, that I do know. Last autumn, I signed a contract with Holland House Books. They are interested in my three early Medieval rebellions and a novel which is based on a true Norfolk story, about the last man to hang as a public spectacle at Norwich Castle in 1849. Working with H.H. editing is almost done and once again, I have absorbed a lot of new information. I hope this work will be published sometime this year. It is only a working title at the moment, but when there is a link, you can be sure you will see it somewhere!

Saying for Writers #154 - Annie Dillard

A Quote which Might (or Might Not) Inspire You to Write:

“Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now.” — Annie Dillard

Tip O'Day #429 - The Numbers Game

Guest blogger Jacquelynn Gagne of Ambrosia Arts on “numeric numbers versus alphabetical numbers in fiction.”

Have you ever read a novel published by a big publishing house such as Penguin or Random and seen a lot of numeric numbers?

Unless the book is about numbers somehow or an educational book, then you rarely will. At most, you will only see a numerical number if it is a year (even then sometimes it may be written out alphabetically) unless it is a ridiculously long number such as 86,346,249. Writing out eighty-six million three hundred and forty-six thousand two hundred and forty-nine can just be confusing. One other exception is when it is in reference to a sign or a time of day. (Times we will discuss in a moment)

Take for example a road, such as I-149. However this could also be written as interstate one-forty-nine, and written as such is perfectly acceptable. Using numerical numbers may be considered unprofessional in the case of a standard novel. It can be considered lazy. It can be difficult to remember if you are already in the habit of going for the number key.

Let’s take a moment and discuss how to properly write times. If we are giving a general time of day, we would write it alphabetically every time. Eight o’clock in the morning, five o’clock in the afternoon, three o’clock in the morning - the time was seven a.m., the hour was two p.m. If you are being specific you can write this out alphabetically but depending on the type of book it may be accepted numerically as well but it is always advised to write your numbers alphabetically in a novel. Example: 4:39 a.m. Example four thirty-nine a.m.

On a side note, since we are discussing times I constantly see a.m. and p.m. written incorrectly as am or pm, You must include a period (dot) after each letter. If your sentence ends with a.m. or p.m. you do not add an additional period dot. As you can look in the paragraph directly above, the last two sentences are examples of this.

This may not seem like a big deal and I am not trying to say that it is. However it can make a difference in you looking professional or amateurish. If that doesn’t concern you, then you may wish to reevaluate your priorities and decide how you wish to be viewed, not just by readers but in the literary community as well. Our words are how we are viewed as writers. Books are judged by their covers and writers by our words. The plus side of this is that unlike a bad hair day, we have complete control over our writing.

You can follow more writing tips with a subscription to Ambrosia Arts e-magazine at http://www.ambrosia-arts.com/index.php/more/subscribe or learn more on Facebook.

Tip O'Day #425 - Finding Emotional Truth

Guest blogger Cindy Zelman on “10 Million Links to Help Make Your Memoir Stand Out! (Part 1)”

Or, some simple advice for those new to memoir writing.

If you Google the phrase, How to make your memoir stand out, you will receive 3+ million hits within a few seconds. Sometimes that phrase yields up to 10 million hits. Either way, that’s a lot of information. Who am I to give you advice with such a crowd of experts waiting for you to click on a link or 3 million? As a blogger and a writer whose focus is creative nonfiction, both essays and memoir, I can offer you some down home suggestions -- nothing proven or promised, but helpful ideas I’ve picked up along the way from other writers, editors, and publishers.

I would begin by telling you not to listen to people who say you must lead an exciting life to write a publishable memoir. BS, people, BS! Yeah, sure, it helps to be Cheryl Strayed and have hiked the Pacific Crest Trail from the Mojave Desert to Washington State all alone. To add to the spice of her memoir, Strayed had never been a hiker and decided to hike 1,000+ miles to find inner peace after the death of her mother and a divorce from her spouse. This doesn’t sound like your life? You don’t find yourself praying you don’t run out of water lost up in a mountain somewhere? You’re not a beautiful blonde adventurer who would look good on Oprah?

Me neither.

Just because your life is a little quieter than Chery Strayed’s, that doesn’t mean you can’t write a great memoir. Even if the most exciting thing you do is stay home and crochet afghans, you can write a compelling memoir. It’s all in how you tell the story.

Did I just say “story?”

Suggestion Number 1: Tell a story. Just as a novelist tells a story in fiction, a memoirist should always keep story in mind when telling her tale. Of course, one distinction between fiction and memoir is that your story needs to be true. By true, I don’t mean absolutely, 100% factual, because a memoir is not a news article. I’m not interested in all the arguments about objective truth, since personally, I do not believe it exists.

If you are to write credible memoir, stay as close to memory as possible. Finding the emotional truth in your story is essential. The emotional truth is what readers want in memoir – not the chronological facts of your life. A this happened and then that happened approach is autobiography, not memoir. You reach deeper in memoir to provide a story arc, to feel and see and interpret the aspect(s) of your life and the world which you are writing about.

For example, you might not remember the color of your father’s sweater when he took you to the ball game, right before he left you and your mom forever, but you remember how it felt when he took you to that game. What would the color of the sweater need be, to evoke the emotional truth of being with your Dad for the last time? Make his sweater that color, the color of how it felt. It’s okay to imagine, just don’t lie about having had a father who took you to the ball game and then left home, leaving you and your mom to fend for yourselves. That part needs to be true. The part about the sweater color can be imagined as a method for showing the emotional truth. If it makes you uncomfortable to make up the color, you can alert your readers that you are imagining. “I think his sweater was blue,” or “I imagine his sweater to be blue,” are ways to tip off the reader that you are unsure. Readers are okay with that.

If research and interviews help to jog your memory and go deeper into the story, then go for it. I recently had an experience where someone I never wanted to hear from again found a short memoir published by an online journal. She contacted me and pushed back about some of the situations I described. I must give her credit that our discussions led to a better and deeper story. People who are familiar with the story you want to tell can help to jog your memory, but remember, it’s your story to write, not theirs.

So, tell us a story.

Suggestion Number 2: Write well. It may sound self-evident but there are people who think if they throw something down on paper about their lives, it’s worthy of readers. If you plan to write about how knitting afghans for the last 30 years has made you the spiritual person you are today, starting when you were a 15-year old feeling alone and friendless and borderline suicidal, and ending your story in middle-age, where the afghans are what saved your mortal soul and now define your very essence –- write that story well. It’s an awesome story: surviving your demons through crocheting is your own Pacific Crest Trail hike. However, your sentence structure, diction, and grammar need to be clear, concise, and correct. Make sure there are no spelling errors. (I am saying all this to myself, by the way.)

Cindy Zelman is a creative nonfiction writer whose work has appeared in numerous journals including Feminist Studies, Connotation Press: An Online Artifact, The Whistling Fire, and Cobalt Review. She is finishing a full-length memoir about how panic disorder and a dysfunctional childhood have affected her romantic relationships. You can read some of her work on her blog, The Early Draft, found here.

Part 2 of Cindy’s advice on memoir writing will appear here tomorrow, February 28th.

Tip O'Day #416 - Hello, Lurkers!

Guest blogger Lucy Pireel rants about online forums for authors.

When Dixon asked me whether I would like to supply him with a guest post for his blog, I jumped at the opportunity — like I always do. Head first and oblivious to the existence of shallow, shark infested waters. But that’s me.

Anyway, I had a nice topic to ramble on about — where to get new ideas — but got distracted. By? Yup, the evil Book of Faces. It has me in its clutches and won’t let go. Mind you, I’ve liked being on there ever since I signed up rather reluctantly. It’s a major distraction, but also a source of great fun and a wonderful means of reaching out to people. We get to ‘meet’ individuals we would have never known without Facebook.

I thought it would be useless to me, but to be honest I’ve learned quite a bit about self-publishing and marketing during the mere month since being suckered in. Hahaha. But there’s a balance to be kept, because before you know it — Poof! — there went another day that could, no should, have been spent on writing, editing, or other writerly habits.

So, there you have the topic of today. Facebook. Let’s take a long hard look at it. Fun? Yes! Useful? Yes, and… Oh, well, yes. Even if I sometimes think the authors gathered there are mainly promoting our works to one another, I still honestly believe that there must be other people watching and reading too. People who lurk in the shadows and think, because they do not write, they have no right being part of an authors group.

How wrong they are. There are heaps of readers too. Readers who love to connect with writers. Take for example the Book Junkies group, a gang of readers who not only love books, but are also dedicated to helping writers get their names and works more exposure throughout the online universe. Book Junkies members think ‘outside the box’ and have set up not only their group, but also a site to promote authors, and a site to promote books by posting reviews. They offer a complete platform for writers.

And there are many other similar groups.

Not only are there promotional groups, but recently a new group called Authors Against Piracy has been formed. Now we not only unite in the search for an audience, but we’ve started the effort to protect our intellectual property against thieves. Much like the music industry struggles to protect itself, we ought to do the same. Digital books need the same kind of protection that recorded music has. And I don’t mean that lousy excuse they call DRM, because any second grade digital thief can take that off any file in a jiffy, ruining a beautifully formatted book while at it. Leaving the ripped off copy a mucked up mess.

So Facebook and other online forums offer an opportunity for authors to network and create friendships all over the globe. We get to learn more about the craft of writing, about the publishing business, and about our legal rights. We have the chance to discover what readers are looking for, and how they choose which books to purchase. For those of us in rural or isolated locales, we have the opportunity to create a writing platform.

And the lurkers get plenty of places to hang out.

Tip O'Day #415 - The Best POV

Guest blogger Carolyn Arnold says “First Person POV Can Save Your Writing.”

All of us -- both as authors and as readers -- want characters we can relate to and connect with. Nothing can kill a plot much faster than cardboard shadows roaming the pages. I’m sure we’ve all been victim to this plague at one point or another, whether the infection has been injected by us as the author, or we’ve tried to read a book that has them.

The question as an author is, how can we avoid flat characters and get ones our readers feel they can pinch?

When we start out writing, we all have areas we can improve on. In fact, even once we may have “mastered” one technique or area, we’ll find there are still ways to sharpen it further. That’s why I always say that writing isn’t a destination but a journey -- a metaphor that holds true in so many ways.

So if we are to improve our craft, the old adage, practice makes perfect, is always in play. When I started out writing, I didn’t even know where it was headed. My goal was simply to write a full-length novel. I didn’t see beyond that until a few months after I finished the first draft. And it wasn’t until I wrote Ties that Bind, the first Madison Knight novel, that I realized how serious writing was to me. Going from a single goal to a lifestyle, I was reborn an author. It’s quite likely my situation mirrors your own. You may also relate to the fact that once you decide you want to make money with your books and have people “out there” read them, you have to refine them to the point of exhaustion, and beyond.

Along my journey, I discovered I needed to sharpen my characterization. I went back to Ties that Bind repeatedly revising and tightening until Madison Knight came alive off the page. It was at this point I proudly published the novel satisfied she was relatable and like a real woman I could run into on the street.

This didn’t happen overnight. As mentioned, it took many return visits to the manuscript and time. Maybe you’re wondering how I knew what I was looking for? Here’s how: writing first person POV saved my writing.

Possibly you’re cocking an eyebrow right now, or smirking at the statement, but it’s true. Think of it this way: the most popular point of view to write in is third close. That is the use of “he” and “she”, where as the author you’ve distanced yourself immediately by pulling out of the character’s head. You may argue that third close gives you “insider knowledge,” and it does if executed properly. That latter part is the key. So, how do you get there?

Think of writing first person. The use of “I,” “me,” “we” and “us” become the terms used in this point of view. It instantly feels more personal. By using “I” and looking at emotions and situations in first person, you are right inside that character’s mind. You feel what they feel, see what they see, hear what they hear, and smell what they smell.

In consideration of this, my suggestion to all authors is: write something in first person.,/p>

For myself, this came in the form of a full-length novel (Restitution, not yet published). But you don’t have to write a novel. Why not just try a short story, or if you’re struggling with a scene, re-work it (for your purpose) in first person?

Close your eyes. Immerse yourself in the scene. Breathe in deep and focus. You are your character. How do you feel? What do you see? What do you hear? You get the idea.

By writing in first person, it benefits your writing in at least two ways:

1. It strengthens your intimacy with your characters, and in turn, your readers -- even when writing in third close. In fact, I find when I’m writing close third in a first draft, I have inadvertently put “I” because I felt that close with the character.

2. It takes away any hesitation to branch out and try something new. This is very important, because as author as we must continually challenge ourselves.

For myself, after I wrote Restitution, that was then I revisited Ties that Bind. In fact, at the time of this post, I have written three novels utilizing this point of view with a fourth in the works. Here’s another challenge for you: switch off between first and third to play with the plot of the story and further heighten conflicts and create more suspense.

Of course, my advice to all authors, write any story the way it demands to be told. For me, I took on the challenge of mixing first and third in a few thrillers I have written. My thriller/police procedural Eleven (part of the Brandon Fisher FBI Series) utilizes this and is currently available for Kindle or in print.

An effective way of switching between characters for different scenes, mixing first and third or not, is another challenge -- and another post. For now, just keep writing, and heck, why not give writing first person a try? It might save your writing.

Carolyn Arnold is the author of both the Madison Knight and Brandon Fisher FBI series. To find out more information about her available books and upcoming releases, you can visit her at carolynarnold.net or peruse her Amazon Author Page.

Tip O'Day #401 - Elements of a Scene

Guest blogger Bill Hopkins says, “List? A writer don't need no stinkin' list!”

I've attended many writing conferences in my lifetime, enough to have several lists of things a writer (especially a fiction writer) must do to have a successful story.

But first, let me tell you where you can find a real-life example of the list I'm about to share. My selection of books is wide-ranging. I read The Kon-Tiki Expedition: By Raft Across the South Seas when I was in high school. I read every one of the books in The Mushroom Planet series when I was in the sixth-grade. Robin Hood books were my favorite when I was even younger.

However, the book that has affected me and my writing most is one I finished recently. Stephen King's 11/22/63 tells the story of a man trying to change the past by stopping the assassination of President John F. Kennedy. It's pure science fiction (flavored only the way King can do it) and it adds a new twist to the canon of time-travel stories. (I think I've read every time travel story available; trust me on this.)

That's only part of what makes this book great. Things that King shows are elements that each scene of a successful story must have. A lot of these items are obvious, yet I've read books by high-powered authors who don't include some, making for confusion.

(1) Source of light. Every scene must explain the time of day and, if the scene takes place inside, show the reader where the light comes from. Are we outside in the middle of the night? Full moon? New moon? Starlight? Clouds?

(2) Participants. Every scene must also tell the reader who is there and where "there" is. One novel I read recently started a new chapter that ran for over a page before I knew the who and the where. This is frustrating and irritating to readers.

(3) Senses. Every scene should deliver the six senses. Six? That's right. Not only smell, sight, hearing, touch, and taste, but the emotional state of the character needs to be explored. Briefly and surreptitiously, of course, unless you want to have a list at the beginning of every scene. (Not advisable.)

(4) Resolution. In every scene, somebody must want something, somebody must oppose that want, and there's a clear winner and loser. Otherwise, what you've written is a lecture on morality. A good exercise is to write a scene about what Jack and Jill do with that pail of water. Each needs it and there can be no compromise.

There are tons of lists. Two more, by Kurt Vonnegut, can be found at these two sites: http://en.wikipedia.org/wiki/Kurt_Vonnegut and also http://peterstekel.com/PDF-HTML/Kurt%20Vonnegut%20advice%20to%20writers.htm.

Finally, to paraphrase Vonnegut, if you're a great writer, you can ignore all those lists.

Learn more about this author at his website www.judgebillhopkins.com. Bill’s latest novel, Courting Murder, was released ahead of schedule just a few days ago, and is available on Amazon and B&N. Here’s the Amazon link. http://tinyurl.com/Bill-Hopkins-Courting-Murder

Speaking of writing conferences, there’s a dandy in Kalispell, Montana this coming weekend, Oct 6-7. Guest speakers include John DeDakis, writer/editor for “The Situation Room” with Wolf Blitzer on CNN, and Mark Coker, founder of Smashwords. It’s remarkably entertaining, educational and inexpensive, and there’s still time to register. Go to http://www.authorsoftheflathead.org/conference.asp

Tip O'Day #400 - Books on Writing

Guest blogger Seeley James on some writing books that were very helpful and others – well, not so much.

I’ve read many books about the craft of writing. Some I cherished and underlined and marked up. Some I abandoned after a few pages. Each of them taught me something. A few were amazing. Oddly enough, the highly recommended books were not that good. I jotted down my thoughts about the three I found most helpful and two that made me think, what happened here?

First, understand my slant: I like to read and write thrillers. My goal is to entertain as many people as possible. If your goal is to write character-driven, world-changing literature, or romance or epic Sci-Fi, these reviews may or may not mean as much to you. However, I think good advice transcends genre.

Second, I like to read books that tell me how to be a better writer. How to improve my action sequence. How to pace my highs and lows. Why no one feels my main character’s pain. When to do this instead of that. I like to read a book and immediately launch into notes for improving my manuscript. If the book I’m reading doesn’t stimulate my creative process, then I’m not enamored.

Third, on my blog, I’ve written my ideas on the craft of writing in a series called The Architecture of Writing because the one thing all these books have in common: they’re too freaking long. The points made in each could be summed up in a PowerPoint deck and dropped on us to take or leave as we wish.

Two popular books that taught me far less than I expected:

Writing the Breakout Novel by Donald Maass -- While Mr. Maass is a top agent who cites great works of literature and describes why they were great, it rarely says anything about how to actually write a breakout novel. I found myself nodding and thinking, ‘yeah, he’s right, that was a great book.’ But only jotted down two or three notes to follow up on later. My takeaway: some writers wrote some really good books.

On Writing, Stephen King -- Yeah, blasphemy, I know. I’m a heretic. It’s a great book about a literary celebrity. I was fascinated by his story and his life experience. He has one passage about his editing process. And he railed against plotting. Otherwise, it was a memoir. (OK, so he’s been writing since he was 10 and he plots intuitively. Does that mean the rest of us are pond scum?) My takeaway: Always have a book in your hand.

Three books that drove my imagination and made me take notes:

Techniques of the $elling Writer, Dwight Swain (1965) -- Yes, I am recommending an obscure writer who taught at the University of Oklahoma fifty years ago. The references to starlets long gone are amusing and younger readers will have to study some of his literary references but he explains technique at the sentence and paragraph level. With right way and wrong way examples, no less. Read this and you will have a much better grip on why your last story flopped and how to make your next sing. My takeaway: Tactics.

Self-Editing for Fiction Writers, Renni Browne and Dave King (1991) -- Another oldie but goodie. And I mean goodie. This one explains story structure and pacing with a little more meat on the bones than Swain’s work. Where he gives you paragraph tactics, this offers concepts for story strategy. At the same time, this book picks nits that will have you running for your editing notes. And the best part is — the authors formed a company offering indie authors professional services. Their story was so compelling that I’ve hired The Editorial Department to handle my editing, artwork, layout, and marketing. My takeaway: Strategy.

The Writer’s Journey, Christopher Vogler (1998-2007) -- This is the most important book a novelist can own. Mr. Vogler presents it as the foundation for every story ever told. Not true. However, it is the most comprehensive explanation of classic stories like Star Wars and Wizard of Oz. You do not need to follow his example. You do need to understand the structural underpinnings that have formed classic stories from Odysseus to Harry Potter. My favorite author, Lee Child, has never applied this method. My second favorite author, James Rollins, always applies this method. Whether you use it or not, knowing how it works helps you form a stronger story. My takeaway: Structure.

There are many more good and not-so-good books out there. I’ve only listed three of my many faves. What books taught you the most about the craft?

Seeley is the author of short story collection Short Thrills, and his novel Geneva Convention will be released later this year. He was a Finalist for the DeMarini Award in fiction, and was short-listed for the Fish Publishing Award and the Debut Dagger Award.

Tip O'Day #398 - What Drives Readers Crazy

Guest blogger Darlene Elizabeth Williams looks at what makes a novel outstanding compared to others in the same genre.

As a reviewer, I look for some key points. First and foremost, the most common detraction to a novel is poor editing. While typos or grammatical errors are found in most novels, more than 2 or 3 become a distraction. Novels rife with poor grammar and superfluous words quickly lose appeal.

One of my pet peeves is the word “that.” It is an overused word that, in many cases, does not need to be included. I am guilty of this habit and always go back through my work to ensure I have eliminated every “that” possible.

Lengthy passages of narrative relating events are sure to cause a reader’s eyes to glaze. Instead, characters conducting conversations or engaging in activities to impart the information keeps the reader in the moment. This technique is valuable for immersing the reader completely.

While on the topic of narrative, passive sentences slow action. Sluggish progression equates reader boredom. A tightly written novel with active wording and succinct dialogue zings with vitality. The pace has highs and lows. Readers need to catch their breath after a climatic event, but not for too long. An outstanding novel wraps up almost immediately after the final climax. To continue on for a few chapters with explanations of what happened afterwards ruins what could be an excellent finale.

Authors who complete comprehensive character studies “know” their characters intimately. A cynical character who, inexplicably, becomes tender and forgiving in Chapter 3 before reverting back to sardonic in Chapter 4 goes beyond suspension of disbelief. Well-developed characters evolve throughout a novel in a convincing fashion.

Now to what is called the “story world.” A novel lacks depth when it skims over the characters’ environment or contains easily notable inaccuracies or discrepancies. Credibility is lost if a character pops an 8-track tape into his 1954 Ford Customline telling his passenger how “cool” the Back Street Boys are. If a dog is black at the commencement, he’d better be black at the conclusion.

Fantasy, paranormal and science fiction story worlds have more liberalities, yet they must also be plausibly constructed. Fans of the genre expect intricate, imaginative settings, but still require some familiar grounding. Even Star Trek’s Spock had his rare moments of emotion.

Not just a few of these elements are essential for an outstanding novel. They all are.

Darlene Elizabeth Williams reviews historical fiction at http://darleneelizabethwilliamsauthor.com/ (under the HF Reviews tab) and is currently working on her first historical fiction novel.

Tip O'Day #393 - Writers Conferences

There's a saying you'll hear at AA meetings that, "If you keep hanging around barber shops, sooner or later you'll end up with a haircut."

Looking at it a different way, if you want to become a world-famous barber, there's no better place to loiter than a barber shop.

A writers conference is a wonderful place to learn more about (1) the craft of writing, (2) how to get published, (3) what's going on in different genres, and (4) how the publishing business really works. It's also a great way to network with other writers and book lovers, and I still keep in touch with folks I met at conferences years ago. Most of all, a writers conference fills me with enough energy and inspiration to keep going for 12 months - until the next conference.

Some conferences are massive events, and you need to be nimble so you're not trampled by eager hordes of authors. I'd like to suggest a small, writer-friendly gathering in one of the most beautiful spots on earth - my home town.

The Flathead River Writers Conference takes place in Kalispell, Montana, within view of the Rocky Mountains on Sat-Sun October 6-7, 2012. It is limited to 100 participants, and full registration is a mere $150. For a rundown on our speakers and other details, follow this link: http://www.authorsoftheflathead.org/conference.asp

Hope to see you there.

Lake McDonald in pristine Glacier National Park, an hour's drive from Kalispell, Montana.

Tip O'Day #387 - “Plays Well With Others…”

Guest blogger Kim Boykin looks at Childhood Lessons on Writing.

1. BE KIND. Read for your fellow writers and offer good, honest critique. It’s easy to look down on someone else’s work when you yourself are long past the stage of development where everyone either longed to suggest you get another hobby. Be generous with praise, but be genuine.

2. PLAY WITH THE NICE KIDS. There was an unpublished writer I greatly admired. For a bunch of psychological reasons I won’t go into, I felt like such an idiot around her. Glaring red flags went up. I was so enamored with this person, my work suffered horribly. Pat attention! Those red flags are there for a reason.

3. STICK UP FOR YOURSELF. If you’re serious about writing, put yourself out there in critique groups. Listen to everything and fight the uncontrollable urge to defend your work. If the criticism is valid, it just is. But don’t be a pushover.

4. TEACHERS KNOW EVERYTHING. Not everything, but teachers have a bigger and better toolbox and they know how to use those tools. Best of all, they want to teach you how to use them, too.

5. DO IT AGAIN. Writing is like cleaning a bathroom. No matter how well I thought I'd done it, my mom always found something I missed and made me do it again. Be ready to write and rewrite to get noticed. Then, after you have an agent and a publisher, you’ll rewrite again.

6. GUARD YOUR STUFF. With computers and their tiny vast minds, it’s easy to think of them like a piggy bank. When you need to find where you said something really cool, you just give it a shake and there it is. As amazing as computers are, they aren’t foolproof. Use a back up service. Hell, print it out and put it in the safe deposit box in case the house burns down. Once it’s gone, it’s gone.

7. ROLLY POLLIES & BAKING. Don’t forget to layer in the small stuff, such as noticing things like rolly pollies or the design of wrinkles on your protagonist’s forehead, what her hands look like and why. Then taste your batch of words, smack your lips together. What does it need to become richer? Chocolate is good, but sadly isn’t always the answer.

8. GO FISHING. If you want to be a good writer, go fishing. You can learn a lot about writing just dangling a line in the water. Sensory detail, order and pacing are vital. Above all, patience will come in handy after you’ve written your novel and are ready to sell it.

9. TAKE GOOD CARE OF IMAGINARY FRIENDS. Those voices you hear in your head are a gift. They provide an understanding of your characters that can never be attained with process gimmicks, charts, or outlines. They are windows into souls that exist only to have their stories told.

Kim Boykin writes stories about strong Southern women, and her “beauty school” novel titled The Wisdom of Hair will be released in the Spring of 2013. Learn more at her website, kimboykin.com

Sayings for Writers #126 - Leonard & Kerouac

Two Quotes which Might (or Might Not) Inspire You to Write:

“If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative.” — Elmore Leonard

“It ain’t whatcha write, it’s the way atcha write it.” — Jack Kerouac

Tip O'Day #373 - Sensory Writing

Guest blogger Dee Ann Waite says, “Eyes and ears are not enough.”

As writers, we must remember our readers are dependent upon our descriptions to bring them fully into the story. We need to make them not only see and hear the story, but also feel it, smell it and taste it. In my experience, smell and taste are two of the most neglected senses in writing. Pick a scene from one of your stories and review it for the five senses. Can you see where you could have added one or two to enhance the scene?

A while ago, as I was driving along a winding country road on my way to the west coast of Florida, I began to see Smoke Area signs. In Florida, when the season is exceptionally dry, they have what are called controlled burns – intentionally set fires to clear the dead brush. I slid the window open and inhaled deeply, prepared to experience the exquisite taste of home. As I breathed in the aroma of burning vegetation, memories of outdoor campfires and old wood-burning stoves flooded in from my youth. A smile creased my lips as I relished the joyful innocence of adventure, wonder, and the comfort of home. The smell of smoke brought it back in its full glory.

You see, senses have everything to do with writing because writing is metaphoric, sharing universal truths through metaphors delivered from the heart.

Writing from your senses doesn't mean including a few senses in your narrative. It involves much more than the simple description of a sense. Not connecting a described sense to a memory or emotion is to miss a very important opportunity as a storyteller. You have the opportunity to enlighten readers on some aspect of your characters’ experiencing the sense (such as their histories, the quality and nature of their relationships, their viewpoints, education, prejudices, how and what they've experienced in their lives). Here are some examples of what I mean:

#1: Judy walked into the Closed Closet Pub and caught the tantalizing aroma of garlic and peppers amid the din of jubilant laughter, cackles and desultory conversation. The amber light enhanced the rich tones of nautical oak. She saw some friends drinking in the corner and sauntered toward them, smiling.

#2: Judy hesitated at the Closed Closet Pub door, inhaling the exquisite aroma of garlic and peppers amid the din of jubilant laughter, cackles and desultory conversation. For a moment she was back on the boat, reliving the party that changed her life. She'd stopped eating peppers after that. She caught sight of her friends drinking in the corner, beneath the amber light. She sauntered toward them, a huge smile pasted on her face.

The first example describes; the second example emotes. The first one describes the place but it doesn't provide us with any information about Judy, except that she likes the aroma of garlic and peppers. We don't know why. In the second example, her senses are used to hint at intrigue linked to memories that, in turn, are linked to the associated sense--in this case the smell of garlic and peppers. This is the power of writing with your senses. You bring it home for the reader.

Adding detail to our writing can be a difficult process. We don't want to overwhelm our readers, but we want them to be able to visualize the details of our stories. Adding sensory descriptions will help them do this. Watch as I add sensory details to one of the scenes in this realistic fiction story:

Charles rushed out the door as he headed to his first day of college. He slung his book bag over his shoulder and quickly made his way to the school auditorium.

Although this is a great scene, more details can help readers visualize and understand what Charles is feeling. I might add the following to the scene:

The chill of the wind froze him to the bone as his feet crunched on the ice under his feet.

This tells me a lot about the scene. The reader knows it's winter and Charles is cold. The wind blows in his face and he has to walk slower than he wants because there is ice on the ground. I could also include what he smells and tastes, but sometimes it isn't necessary to include all the senses. We have to be careful not to be overly descriptive.

I've been advising you on how to incorporate the five senses into your writing to bring the characters to life and help your readers to become part of the story. Now I'd like to mention that omitting one of the senses here and there can also add tension, fear, etc. to the story. Consider this scene:

You’re a small child lying in your bed, all alone. Desperately waiting for your eyes to become accustomed to the dark, you hear it - a soft, scratching noise - and it's coming from under the bed. It lasts only a moment before it stops. You wonder if you're hearing things, and you're so desperate for the darkness to lighten that you forget to blink. The blackness seems to swirl around you, cloaking you in a thick, black fog, through which no light can penetrate. The sound begins again, only this time the scratching becomes louder, seems closer, and last a little longer this time. You hold your breath so the darkness doesn't know you’re there. Without your sense of sight, you figure by not breathing you will be able to hear the sound more clearly, and identify its location...

The description above relies on the complete absence of the sense of sight. This is where fear comes in and can play a major role - in this case, blind fear. To compensate for the loss of sight, hearing becomes more acute. You, as the writer, can introduce other horror-inducing thoughts and impressions.

You are at an advantage as a fiction writer. You get to create a real life environment, and enhance that environment any way you wish, to any degree you wish, by the use of sensory writing. Real life can be far more interesting than fiction.

Dee Ann Waite is author of the thriller The Consequential Element. You can learn more about her at her website or blog. She tweets as deeannwaite1

Tip O'Day #366 - Embrace the Unexpected

Guest blogger Mary Ann Loesch on “baby steps to help you walk the path.“

Like a lot of you, I've been doing the writing thing for a long time. It started when I was a kid and my dad took me to see my first play. Not only was I hooked on the idea of pretending to be another person, but I totally loved the thought of being able to create a new world. I immediately went home, wrote the worst play imaginable, and then made the neighbor kids act it out.

Yep. I had it bad from the beginning.

As I got older and honed my skills, I never entertained the thought of becoming serious about writing. Sure, I had hopes of publishing a short story or two, but a whole book? C'mon. Get serious. I couldn't do that…

Ha! Here I am--three books later and with a zillion projects under way. However it was by no means an easy or conventional road that got me here. There weren't any classes or writing conventions that I would credit with helping me get started. It was the things I learned in my writing group and from doing freelance assignments that put me on the path to publication.

If you don't have a writing group, find one! You'll be surprised at how much you get out of interacting with your own kind. It's almost like being a Trekkie, only you don't have to wear a uniform--unless you want to! Be particular though. Think about where you are at as a writer. What would you want from a group? Do you want manuscript critiques? Or are you more interested in sharing resources about agents and editors? Knowing these things will help you make a decision about what group is best for you. I've been in one really excellent online group that helped me re-write short stories and taught me how to critique the work of others. I've also been in a terrible online group where people did nothing but tear each other apart!

For me, the best group I've joined is the one where I get to sit down face to face with the other members and really chat about the business. This is my All Things Writing group. We were so inspired by each other that we've started a successful blog called All Things Writing that is geared towards helping writers, and we created an anthology of short stories together called All Things Dark and Dastardly.

Freelance writing is something I never expected to really learn anything from. Heck, I just wanted to make extra money so I could forward my advertising campaign for my first book! That's not what fate had planned, though. Working as a freelancer, I discovered the importance of deadlines, how to write tight, that being able to write in different styles is an important tool to have in your tool belt, and how to deal with difficult and annoying people who don't actually know anything about writing. All of these things have benefited me enormously when it came to finally getting published, and I consider them the best on the job training I've ever had!

Were there other things that helped me get published? You bet, but writing groups and freelance writing were definitely what gave me more opportunity to get there!

Mary Ann Loesch is an award winning fiction writer from Texas. Her urban fantasy Nephilim was published in 2011 by Lyrical Press. An avid blogger for All Things Writing and Loesch’s Muse, her latest book, Bayou Myth, was released this June. Check out her website or Bayou Myth on Amazon.

Tip O'Day #365 - Accept Only the Best

Guest blogger Robert Medak asks whether quality writing has become outdated? (Appeared in his blog on March 16, 2012 – repeated with permission.)

Recently I’ve read posts about quality writing in today’s publishing environment. Another point mentioned is the greed of publishers for the lower quality writing published today. Is the problem self-publishing, vanity publishing, or print on demand (POD)?

The ones I blame are writers and readers. I will tell you why.

I’ve reviewed over 100 books from various publishers, mostly Outskirts, Lulu, Xlibris, and personal publishing by authors. This is because publishing houses can’t handle the amount of books submitted, including manuscripts that are not what publishing house print.

Now on to the books I’ve read, many of which break some fundamental rules of grammar, punctuation, spelling and word choice. There are two quotes by Mark Twain that bring this home for everything I write, they are, “The time to begin writing an article is when you have finished it to your satisfaction. By that time you begin to clearly and logically perceive what it is that you really want to say.” And also, “The difference between the almost right word and the right word is really a large matter–it’s the difference between the lightning bug and the lightning." These two quotes speak volumes to me as a writer, as they should every writer.

It’s my position, no matter what, that writers should always write their best to get the words down, then edit the work or have someone they trust edit it for them, be they professional or not. Only with honest feedback can writers improve. Writers need to write to improve their art as Mary Heaton Vorse said, “The art of writing is the art of applying the seat of the pants to the seat of the chair.”

Readers should never accept less than excellent writing from authors.

There might be a problem created in the printing or formatting of the book or eBook. It is up to the author to look at a finished copy of their book and ask for any errors corrected before it is ready for public consumption.

Learn more about Robert (a freelance writer/editor/reviewer) on his writing blog.

Tip O'Day #306 - "Don't Change a Word!"

Guest blogger Salvatore Buttaci on learning the writer’s craft.

As a former English teacher, I often heard young people sharing their dream of becoming professional writers. Yet, just as often, these same students did not make the connect between the dream and the labor required to satisfy that dream. Many times I heard, “Spelling doesn’t count.” Or “Grammar ‘don’t’ have to be perfect.” Or “Imagination is what a writer needs more than good English.”

Why is it so obvious in sports, trades, and professions that education and practice are prerequisites for success, and yet many aspiring writers believe they can stop at the gift of a wild imagination and play down the skill of language use and the daily application of this skill in actual writing? While it may be true that there is a book in all of us, that book most of the time remains unwritten. Why? Because it’s easier to dream than to act.

As editor and publisher of an annual poetry anthology for nearly 15 years, I rejected quite a few poems to the sometimes vociferous dismay of their authors. Constructive criticism seldom worked. Suggestions to rewrite and resubmit were rarely taken. “I was inspired to write this beautiful poem,” one person wrote, “and I will not change one single word!”

Writers who dream of attaining success must add substance to that dream by studying an English handbook so what they put down on paper in a final draft is worthy of publication. They need to learn all they can about poetry or fiction or nonfiction by reading the works of successful authors as well as delving into how-to books about the writing craft.

Once aspiring writers decide to make the effort towards becoming masterful in language, their imaginations can easily be harnessed and shaped into admirable writings. Then, by writing every day, the cart now before the horse, they can take that second bit of good advice and persevere for all it’s worth!

Salvatore Buttaci was the 2007 recipient of the $500 Cyber-wit Poetry Award. His poems, stories, articles, and letters have appeared widely in national publications. Flashing My Shorts and 200 Shorts are available here and his new book, If Roosters Don’t Crow, It Is Still Morning: Haiku and Other Poems is available here.

Tip O'Day #273 - The Freedom of Fantasy

Guest blogger Rosalie Skinner, author of the 8-book Chronicles of Caleath series, on resources and tasks of a fantasy author.

For a fantasy writer, every sunset inspires. Even a cup of tea, a taste, a smell, a chance encounter adds fuel to the colour of Caleath’s world. A science article read, a whale watching trip experienced, a near death moment survived, a broken relationship shared, grief, life, love – not a moment of life escapes as trivial. Every experience becomes a resource for my novels.

That’s the freedom Fantasy allows. The fantasy writer must incorporate endless research and her version of reality, while keeping things believable. Doing this with skill and finesse is the writer’s task. Getting readers to empathize with the world you create is the benchmark of successful fantasy writing.

Learn more about this author at her website or her blog.

Tip O'Day #272 - What a Difference a Comma Makes

Guest blogger Gael McCarte on eliminating common mistakes.

“Let’s eat grandma.” – Why? Won’t grandpa miss her?

"(The girls) …were jumped by three men as they went for a walk in their long dresses." – Really? Imagine being jumped by men wearing long dresses?

Missing punctuation, inattention to detail, dangling modifiers – these are common mistakes. The cure? Read it out loud! They are funny when someone else writes them, deeply embarrassing when you do. Such mistakes hide from the eye but are more obvious when spoken.

To learn more about Gael, check out here.

Tip O'Day #262 - "One Sentence Writing Tips II"

Over the holidays, I asked folks in my online network to share one-sentence writing tips. Here are four more.

Karen Mueller Bryson – “Be precise and concise; eliminate all unnecessary words.”

Kathy Dunne Dunnehoff – “Be a finisher!”

Ellie Mack – “Writer's write; it's what separates us from the pretenders and wannabes.”

Charles O. Maul – “Get an agent and go for it.”

Dixon says: Like yesterday’s tips, these are all great. Karen certainly hit the nail on the head. In my critique group, I’ve found many of my comments concern word choice – either picking the wrong word, or using eight words when a couple will do. Kathy teaches writing at the local college, and knows whereof she speaks. I’ve heard that literary agents spend huge amounts of time pushing authors to finish works for which the writers already received an advance. I thought of Ellie’s comment when I stopped at the dry cleaner today; the clerk told me, “I’ve always thought of writing a book…” Finally, I like Charles’ advice. Even if you don’t land an agent, the pursuit is good for the soul. By writing a query and synopsis, and polishing your book so it’s ready for submission, you’ll learn a lot about the craft of writing and the heart of your story. If nothing else, you’ll also learn patience.

Tomorrow’s post will feature one-sentence tips from Jackie Pelham, Gil Roscoe, Michael Snell and yours truly.