Grammarcheck.net recently posted this infographic of 21 frequently ignored (or unknown) grammar rules and writing mistakes that everyone who writes should know.
How many do you know? How many do you ignore?
I’m with them on all but the serial comma and semicolon. I only use a serial comma for clarity in my writing. And, I think the semicolon is too formal for my voice. I only add it when my copy editor insists.
I wrote writers’ two favorite words last week—THE END.
FINALLY! Book 2 of the Fitzpatrick Family sweet romance series is now with my copy editor.The book is a novella.It should have been a fast write.
Novellas generally run 20,000-50,000 words with 30,000 words average. With a writing schedule of approximately one thousand words a day, a writer could/should finish a novella in a month. Even if a writer produces fewer words per day, writing a novella is usually quicker than a writing a novel, which runs 50,000 to 100,000 words.
WHEN LOVE RETURNS took months! But, there were legitimate reasons Becca and Ethan’s story took so long to finish.
My normal writing schedule blew up when I fell playing Pickleball and broke my right wrist last November. The nasty break required surgery to put it back together. Operating with my left hand for months was hard. Trying to type one-handed was next to impossible, so I quit writing.
When I was finally able to use both hands on the keyboard, Ethan and Becca quit talking to me. No matter what I did, the pair refused to cooperate. (We writers call this writer’s block.)
To overcome the problem, I abandoned my usually seat-of-the-pants writing style where the story evolves and constructed an outline and forced out page after page. My strategy worked. I finished a first draft.
Unfortunately, Becca and Ethan came out of hiding and started yelling in my head, “that’s not the way it happened.”
I started over. Only this time, the words flowed and THE END came quickly.
WHEN LOVE RETURNS will be released soon and today I’m revealing the cover.You can be the first to know the exact release date when you sign up for my newsletter here. Don’t worry. I won’t spam your inbox or sell your email address. I promise…
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It’s been a long haul to THE END for this novella. I’m off to start the next Fitzpatrick sibling’s story and, hopefully, there will no roadblocks, accidents, or uncooperative characters for their love story.
I recently read that Writer’s Digest named Jane Friedman’s blog one of the 101 best websites for writers. That’s quite an honor and well-deserved.
Ms. Friedman always has great advice for writers. I read her blog regularly.
Writer’s Digest magazine has been compiling a list of recommended websites and blogs for writers for seventeen years. That list is where I’ve found many of the writing sites I visit most often for advice about how to improve my craft or the nuances of the publishing business.
Today, as a break from my regular Make Me Think narrative blog, I thought I’d share links to the writing blogs I read frequently. Each is chocked full of good advice.
I’m in the process of developing characters for two new love stories, and I’m wrestling with creating people who will be real to my readers.
At the same time, I’ve discovered I fell into the stereotyping pit in developing my fictional hero and heroine.
In the next novella of the Fitzpatrick Family series, my preacher’s daughter heroine is any parent’s nightmare.
In the final book of my military romance series about starting over, my retired Army colonel hero is a tough old bird unwilling to show vulnerability.
Of course, the characters can be exactly that way, but Holly Gerth’s blog got me to thinking. Do they have to be?
Too often (and too quickly), we lump people into categories because of a common characteristic or trait rather than think about their story.
I know from personal acquaintances the stereotypes I created are not necessarily true. Army officers can be compassionate and alpha at the same time. All preachers’ kids are not rebellious.
As a writer, I was being sloppy with my characterization so I started over and interviewed both characters, one at a time, again.
I discovered some amazing things that un-stereotyped them both.
Things that altered the plots of their stories.
Things that will make both novels more interesting.
Whether writing or dealing with people in our everyday world, stereotyping is the easy way, the lazy way.
A trap we shouldn’t fall into. Wouldn’t you agree?
The chief goal of a writer is to engage the reader. How do we do that?
EMOTION
We dig deep within ourselves and find what motivated us and inject that emotion into our characters.
I like the way Hemingway said it here:
SOURCE: tumblr_md88wbST7l1rnvzfwo1_500
Sounds easy, doesn’t it? It isn’t!
If you’re having a hard time getting EMOTION on the page, check out these resources:
1. Writing for Emotional Impact by Karl Iglesias
This book should be on every writer’s resource shelf. The pages of Iglesias’ book are loaded with tips and techniques.
2. The Emotional Thesaurus
Another “bible” for writers. These authors have compiled a fabulous resource with specific examples for adding gestures to convey emotion.
3. The Bookshelf Muse
A must read blog with great tips for adding emotion to the page.
Now go do what Hemingway says, “Find what gave you emotion,” then give that emotion to your character so your reader feels what you felt.
When I shared a recent chapter with my critique partners, one of them questioned this sentence, “He found himself in deep water.”
Not understanding that my POV character’s internal thought meant he found himself in trouble, she thought I had put him in a swimming pool and forgot to put that detail on the page.
Frequently what’s playing in my head fails to come across on the page in early drafts. Thank heaven for CPs who call me when that happens.
Not this time, though. This time I was using Texas talk.
She’d never heard the expression “in deep water” used that way. Her stumbling over the phrase led to a discussion of colloquial language and how words, phrases, and even clichés vary from one geographical area to another.
In Texas, we have a whole slew of vocabulary that has folks scratching their heads. I just used one—slew, meaning a whole bunch. We’re always y’all-ing and gonna and fixin’ when we talk. Non-Texans do sometimes need an interpreter.
Some more phrases:
come hell or high water – proceeding, regardless of the problems, obstacles, etc.
conniptions – get upset and raise a ruckus
hissy fit – kin to a conniption a state of extreme agitation and not a pretty thing to see
hot as tin toilet seat – in Texas we know that’s HOT
screaming bloody murder or banshee scream – not a pleasant sound at all
bone tired – yep, been there
slow as molasses – visualize black syrup oozing out of the jar
keep your pants on – meaning not what you think, but to be patient!
When I’m being lazy with my writing or rushing, Texas terms and phrases naturally flow into my first drafts.
I also have favorite words that pop up. Words like: had, that, could, was, felt, knew, thought, saw, walked, come. Margie Lawson calls these “weasel words.”
I learned in Margie’s deep editing class, The EDITS System, to keep a WEASEL WORD CHART listing colloquial phrases, overused word, throw-away words, clichés, and opinion words.
Unfortunately, my chart populates too easily. I’m my own worst copy editor. that’s why I always pay a professional before my books are published. The words I overuse stand out like sore thumbs to others. (Sorry, Margie had to use a cliché to prove my point.)
During the revision stages, the chart helps eliminate such weasel words and phrases using my word processor’s search and replace function.
BUT characterization can need slang and colloquial regional dialogue. Texan talk has a function if the protagonist is a Texan or the setting is Texas.
Other times, overuse in novel narrative becomes a stumbling block, pulling readers from the story.
When that happens, the reader does what no writer wants a reader to do—QUITS reading!
If colloquialisms are your writer’s voice, I caution you to be sure your reader can understand what you’re saying. Always remember what I learned in a Susan Wiggs workshop.
In the battle of words, the story reigns.
Our word choices should always move the story forward.
In case you’re wondering what I did about my CP’s question, I decided the reader could discern the meaning from the rest of the scene and left the phrase “deep water” in the manuscript.
How about you…
Do colloquialisms, local slang and weasel words slip into your novels?
Are you guilty of using expressions you grew up with that might confuse a reader? Care to share some and explain their local meaning?
Is all you need to be a writer pen and paper or a typewriter or an iPad or laptop/computer with a word processor? Maybe all it takes is the latest writing tool like this:
Or is there more involved besides having the proper writing tool?
Simple answer, YES.
A writer’s journey is a solo trip. A lonely trip and no two writers achieve success in the same way.
I think, to be successful, an aspiring writer must possess, at a minimum, these things:
A PASSION
A WILLINGNESS TO PRACTICE
A DESIRE TO LEARN
On PASSION…
The most important trait a writer needs is the deep desire to write and a steadfast commitment to his passion.
“Nothing great in the world has ever been accomplished without passion.” Hebbel quotes
Writers must write because, if we don’t, we are miserable. The desire flows with our blood.
On PRACTICE…
If you watched the Summer Olympics last month, you saw performances by athletes who had practiced and trained YEARS for the opportunity to compete in their chosen event.
A certain number of hours practice is frequently necessary to be considered proficient at so many things.
Think about airline pilots who must have a specific number of flying hours before they are qualified to solo. Teenage drivers get learner permits and must practice before taking a test to prove their proficiency and earn a driver’s license.
Writing is no different. Writing requires practice.
The exact amount of practice depends on your natural talent, how quick you learn the techniques of your craft and how much passion you have for what you’re doing.
Which brings up another question, how often should you write?
My simple answer: EVERY DAY.
But how much should you write? Does it matter?
According to James Thayer’s Author Magazine article “How Many Words a Day?” Jack London wrote between 1,000 and 1,500 words each day.
Stephen King writes 2,000 words a day.
Ray Bradbury, who authored over five hundred science fiction novels and short stories which someone calculated to be three and a half million words worth of stories, advises writers to “Write a thousand words a day and in three years you will be a writer.”
To succeed as writers, we must practice by writing something, anything every day.
On LEARNING or STUDYING writing craft
Most people wouldn’t dream of trying to build an automobile without learning about auto mechanics. Unfortunately, too many people try to become writers without learning about the craft of writing.
An idea for a story strikes, and they start writing. They never consider story structure, POV, or any of the other skills embedded in every novel we read.
This, imo, is why so many aspiring writers fail so often.
Without learning basic skills, you won’t go far as an auto mechanic, no matter how many hours you put into practicing. Think about artists. They learn to mix paint, how to prepare a canvas and color theory at an art school. Aspiring auto mechanics go to technical schools.
Learning about basic craft skills requires time and study. To me, it’s the most important aspect of being a writer.
Sure, some writers succeed without study. With study, I believe success comes faster.
Even those born with great talent rarely go anywhere without equal measures of passion and practice. Mozart was a virtuoso of musical technique and artistry, but even he needed to learn his craft. He was full of passion for music, he practiced all the time, and he studied.
There are hundreds of great books on writing. I’m sure you have your favorites. On my website you’ll find a complete list of writer resources and some inspiring quotes. Below is a short list I recommend for every writer’s craft resource shelf:
Writing classes – on-line and at colleges and universities – also offer wonderful ways to develop writing skills. Too many classes, in fact, to list them in this post. I’ll do another blog with my recommendations soon.
Writing conferences offer yet another means to study writing craft with the added benefit of networking with like-minded people.
If you happen to live in or near Houston, Texas, there’s going to be a great writer’s conference next month—Northwest Houston RWA’s Lone Star Writer’s Conference featuring James Scott Bell.Yep—same one whose book is #1 on my recommended list.
The conference also offers a tremendous line-up of editors and agents. All for only $130.00. Check it out here.
Now you know what 3 things I believe are necessary to be a success writer so get out your iTyperwriter and GO, GO, GO.
YOUR TURN: What do you think it takes to be a successful writer?
Sitting at a table at my high school reunion recently, this thought struck me: “This is how backstory should work.”
Huh, you say. Let me explain.
I’ve known most of the people at my high school reunion for more than half my life. I didn’t have to ask mundane questions to get to know them. When I looked in their faces, I saw not the wrinkles but teenagers I remembered from our school days.
We were (are) a close-knit group, attending English class or studying for Algebra, or cheering our Austin High School Maroon football team. We laughed about our Red Jacket (the drill team) adventures, relived football losses, groaned over teachers, and relived our glory days on the yearbook and newspaper staff as we reminisced.
I knew their past.
But what dawned on me was that what I remembered from those good ole days is only a small portion of their story. As we shared over the three-day reunion, I learned of their triumphs, their heartaches, their success since we’d last been together.
Did I learn everything at once? No. Piece by piece they shared stories. Backstory came to light that had shaped who they were today.
Like all my high school friends, I know my characters. After all, I am creating them.
And like my friends who told their stories over the time we were together, that’s how I must reveal my character’s background–slowly as it relates to the story and character development.
This is where new writers often err in their opening scenes, revealing anything and everything that’s happened up to the time of the inciting incident.
There are times when a bit of backstory is necessary for the reader to grasp what’s going on and why it’s important. But, editors and agents agree a newly submitted manuscript with backstory dump in the beginning scenes is the biggest kiss of death for the work.
Writers, whether new or seasoned, must tread carefully when considering how much backstory to include. We should trust the reader’s intelligence to “get” what’s going on without providing lengthy backstory.
Think about it. Is it really necessary for the reader to know Mary has been married three times, each relationship ending badly, to “understand” why she’s looking for a good relationship? Usually, that kind of backstory, while indeed important, should be doled out later in the story and bit by bit.
A general rule is keep backstory either absent from the opening or only include as much as is absolutely necessary to set the scene for the inciting incident.
To quote Donald Maass, “no backstory in the first fifty pages.” And then, only to do one or more of these things:
Easier said than done for most writers, including me.
I think of backstory as “BS.” Literally. I ask myself does the reader really need to know this in order to relate to my character? The answer is usually no!
Another way to think of backstory is as carefully placed clues to the mystery of the character and why they are the way they are. Hints to keep the reader turning the page.
Just as I discovered my old friends’ stories gradually, we writers need to let readers find backstory clues throughout the book until they’re brought all together to explain how and why the character changed or clarify whatever the character did.
What do you think about backstory dumps in the opening pages? Do you close the book or keep on reading?