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From “Writer” to “Author of a Book”: 4 Tips for Imposter Syndrome

Black and white image of hands coming together in fist bump. Encouragement for writers who want to author a book

There’s a mental shift for writers when they start calling themselves an author of a book. Many writers seem to find some magic in the term, some kind of promise in the word.

If you are among the group of authors with only one published book, there’s good news. That’s all it takes to call yourself an author. Technically, if you have published only one book, I’d recommend you call yourself an emerging author.

Difference Between a “Writer” and an “Author”

Some people (who risk sounding pretentious) might elaborate on subtle differences between the terms writer and author, but really it just comes down to: have you published a book yet? Fiction or nonfiction, any age genre (adult, YA, children); authors with only one published book are still the author of a book.

Now, there are many types of writers.

Screen writers are highly involved in your favorite TV shows and movies. Copywriters craft the ads, commercials, and most of the social media posts (and blogs!) that you see.

Poets are writers who specialize in poetry. A fiction writer might not necessarily be an author of a book. Many fiction writers are accomplished at short form and focus on flash fiction or short stories.

Nonfiction writers compose essays, magazine and website content, and online tutorials and articles.

Technical writers compose textbooks, guidebooks, and manuals.

You can make an excellent living, engage many interests, and master many forms and platforms as a writer, without ever becoming the author of a book.

But if you do finish that first draft of your manuscript, you’re one step closer to calling yourself an author. Now, all you have to do is publish.

Imposter Syndrome

Not to gloss over the sometimes-difficult, multistep process of publishing, but…

One of the challenges that can keep many people from making the transition from writer of a manuscript to author of a book is imposter syndrome.

Imposter syndrome is a situation in which a person feels or states that they are not worthy of their achievements or of acclaim, despite evidence to the contrary. People who struggle with imposter syndrome report feeling like a “fraud” or like they’ve fooled others into thinking highly of them.

I think you can see why this is a mindset that might (sometimes) affect writers (even very talented ones.) I have worked with people who had run multiple successful companies, had raised incredible children, had lived through extreme and extraordinary circumstances who all told me that they weren’t sure they could be an author of a book because they weren’t sure that anyone would be interested in their stories or ideas.

Every book you’ve ever read, every author you ever admired, began as a writer who decided that, even if they weren’t sure anyone would be interested, they were going to publish their book anyway.

Funny cartoon from Science of People showing two pie charts. One blue and one yellow.
From The Science of People, “The 5 Types of Imposter Syndrome (and How to Overcome It!)”

Becoming a Successful Author of a Book

Now, that’s not to say that publishing a single book will let you live the life of your dreams. Authors with only one published book have a long road ahead of them. Being an author is not the same as being a successful author. Generally, emerging authors tend to publish about seven or eight books; those authors who earn $100K per year or more have an average of thirty-three books to their names.

It can be helpful to consider your definition of success. An annual income of $100K as a book author is one measure of success. You might consider what else are elements of your personal success story—a successful launch party; a successful book signing or public speaking engagement; a successful media tour; a successful establishment of a Facebook group or other social media space to connect with your readership.

There are many standards by which you can measure success once you’re the author of a book, and you can build on those successes.

Writing through Imposter Syndrome

But first, in order to complete that all-important initial step from writer to author, you have to get past the dreadful imposter syndrome. There are many different approaches, but here are a few of my favorites that I’ve seen work over the years for different authors working on their first book.

Talk Back to Negative Voices

You can do this out loud (if you’re in a comfortable environment), or you might type it up as a dialogue screen in a blank document. When a negative thought tells you that you should stop writing, shouldn’t tell your story, or that you’ll never be the author of a book, you respond back to the thought with either a question like, “Is that really true?” or a statement that conveys the idea that “Your opinion isn’t welcome here.”

I find it can be particularly helpful to get this all out at the beginning of a scheduled or impromptu writing session. If you have half an hour to write, spend the first two to three minutes telling your self-doubt to take a hike…at least for the next twenty-eight minutes.

Let Negative Thoughts Sputter Out

Along the same lines, if you don’t find that talking back to negative self-criticism or doubt is the right approach for you, instead, try to imagine those thoughts being said to you by an angry toddler—fragmented language and all. Then, spend two to three minutes writing up what the negative toddler–thoughts are saying. You might find that—very quickly and like a toddler—the negative self-talk will run out of steam. Or you might find yourself laughing if you’re very good at writing a toddler’s voice, and in that case, consider becoming the author of a book for children.

Lock Away Negative Voices

You can also manage negative self-talk from imposter syndrome using visualization techniques, including “shrinking” the source of this critical inner voice. Visualize the person (or people) whose voices embody the negative thoughts, then visualize that person shrinking, becoming small, small enough that you can drop them into a glass jar on which you tightly screw the lid, muting the voice. If you hear multiple voices or inner critics, repeat the process with each person/thought until they are all secured in these mental glass jars. Then, place all the jars in a mental cabinet, close the door, and physically lock it. Now, sit down to write.

Try the Mirror Technique with a Writerly Twist

You have probably heard of the motivational process/Law of Attraction of repeating positive mantras (or affirmations) to yourself in the mirror, daily, in order to boost confidence, increase self-compassion, and focus your mental energy—aka, the mirror technique. This is a great idea, of course, and there is some research showing that mirror affirmations may help support student achievement (in certain circumstances); so why not writers?

The basic mirror technique is simple: You spend at least 1 minute in front of the mirror repeating to yourself positive, self-affirming statements. (Some say you can simply think the statements, but I suggest speaking them aloud.) General recommendations include phrases like, “I can do anything I put my mind to” or “I am worthy.”

For writers, and specifically a writer who wants to become the author of a book, I recommend trying author-motivational phrases such as: 

  • “I am an author.”
  • “All it takes is one published book.”
  • “All of my favorite books started as ideas.”
  • “I am creative.”
  • “I can write my way out of any plothole.”
  • “You can edit a bad draft, but you can’t edit a blank page.”

If you have another writer-related motivational phrase, give it priority in your daily affirmation routine.

Image of a small cat looking in mirror at reflection of a lion with the caption "What matters most is how you see yourself." Encouragement for writers and author of a book.

If you don’t have a daily affirmation routine, you can always try this as a practice to pump yourself up before writing time. Give yourself a one-minute pep talk, then sit at your keyboard and let the imposter syndrome watch you work.

Whatever you need to do to become the author of a book that you want to be, keep writing.

We help dreams become books

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On Being a Lifelong Book Collector

A person (book collector) sitting on a stack of books, showing bare feet and jeans.

I went book shopping yesterday. I don’t know why I picked up anything. I already had 130 books on my TBR list, three of which were recent arrivals via my boyfriend that I wanted to check out. And I already had six or seven that I have been sitting around various places in the house, set aside from the last trip to the used book store. Two of them, I’ve started but haven’t finished, and the others are patiently collecting dust like the long-suffering forgotten treasures that I’ve (unfortunately) let them become.

So why did I pick up five more? Why did I jump at the opportunity to re-own a book I gave away once and never got back? Why did I snag one from an author I’ve never heard of, largely based on cover art and the back cover summary? (And its placement in the store.)

I do try to do that though. As a lifelong reader (and book collector), I’ve found that grabbing random books from unheard-of authors is how to discover new authors, new worlds, new adventures. I love to return to ones I know and cherish (who doesn’t?), but what joy there is in wandering the aisles and finding a gem.

The Japanese language has a word for book ownership like this: tsundoku

Literally translated as “to pile up reading,” the general meaning is the practice of buying books with the intention of reading them, but letting them pile up instead. Maybe you just never get around to it. Maybe you get distracted by something else. Maybe you just run out of time.

One popular meme discusses how the Old English word for a library was “bōchord”, which literally means “book hoard,” and this implies that librarians are dragons. Now, I’m no librarian, but I’ve had people exclaim, “Your house is like a library!” when they walk in. So, that sounds like a reasonable comparison to me. And I wouldn’t mind being a dragon.

I think part of the reason we (as people) do this is that we like to aspire. We like to see ourselves as someone different. New. Growing. Doing things in the future that we’re not doing now. It’s hopeful, isn’t it? It’s optimistic that we’ll be more someday than we are now.

Is it a stack of books, a list of recipes to try, a bucket list of places to travel that reminds us of who we want to become?

Is it the comfort of being surrounded by a collection of familiar objects? They don’t change. They simply are, simply existing, simply remaining, ready to be laughed at or change your life, at any moment. They’re so comfortable, those books in your collection, sitting in stacks and on shelves, just waiting for an excited mind of the book collector that cracks their spine and discovers what’s inside.  Even without being opened, they provide some sort of vital energy to a room, whispering secrets that you must be quiet enough and open-minded enough to hear.

A room without books is truly silent.

I guess if I ever want to become a better writer, I better become more than a mere book collector and actually get started reading.

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The Importance of Charity

charity-writing-editing

I am learning to love giving. I am learning to love charity. 

It’s a difficult thing, a solid thing, a hard thing: to let go. To release. So much emotion tied up in the material. So many attachments to things in and around daily life.

Some people live in one town all their lives; some people even live in a single house. I have no hometown, no house that I “grew up in.” Semi-nomadic for as long as I can remember, my stuff has long been my home. Items that surround me hold in them the memories of where I’ve been and who was there and what we dreamed about.

The most recent times I’ve arranged my life into boxes and taken them to another building to rearrange my life inside new walls, I’ve realized: there is too much stuff. Too much for a single grown person (and a half-person) to justify.

Why hold on to notebooks from college? As if their weight demonstrates, somehow solidifies, all the knowledge contained in them that was once crammed into my skull. Now, the answer to any question is always right at the end of my fingertips. (But! some inner Junk Lady protests, these pages are in your own handwriting. Isn’t that better than Google, dearie?)

No matter where I’ve lived, the truth remains that we are all connected. When I make the decision to consume, someone, somewhere has produced it, and I can and am having an impact on the producer’s life. When I consume what I don’t need, or don’t consume what I do need because I don’t let go of what no longer fits my life, I also affect the producers. My consumption is active, fluid; decisions change the world.

Mindful Consumption + Charity

Mindfulness and self-reflection result in clarity. As I examine my life, my choices and their consequences, it becomes clearer which attachments bring me joy and which don’t contribute any value. Once it’s clear what doesn’t contribute, the possibility of letting go, of breaking those attachments, becomes reality.

Once I realize that I can let go of a particular thing, my perspective changes. When I can say, “I don’t need this thing,” I wonder why I keep what I don’t need, and what I need that I don’t have. I wonder what it will take for me to begin to embrace charity more in my day-to-day life. 

Donate, donate, donate ...

“They who give have all things; they who withhold have nothing.”

This last year, I’ve gathered a few lessons on how to make giving an effortless, fully-integrated aspect of my life.

I’ve learned:

  • You can (and should!) donate to Goodwill or Salvation Army or your local homeless shelter clothes and shoes that you and your children have outgrown or no longer wear.
  • Donate to your local animal shelter all the toys, bedding, and accessories that your pets rejected or outgrew.
  • Donate books to libraries or shelters; donate toys your kids have outgrown to a daycare center or church.

Personal Charity Favorite:

Got an old gaming system that you can’t resell? Donate it to kids who are stuck in the hospital with cancer and other chronic illnesses. Visit Charity Nerds and make a kid’s day. (Good-bye Leap Frog Leap Pad that my son stopped playing with years ago).

Consume Responsibly ...

Thrift stores, consignment stores, used-furniture outlets, used-book stores*, pre-owned anything. There’s an entire world of apps, brick-and-mortar locations, and retail sites where you basically never have to pay full price and buy anything new, ever. This is especially useful when it comes to items like kids’ clothing.

Warning – I have found that buying shoes from thrift stores/pre-owned clothing stores (and websites) is a tricky process, often with disappointing results.

If and when you purchase new, purchase items from companies that represent your ethics (B-corps, certified fair trade, mission-focused businesses) and/or small business when possible. I love Etsy. With a passion. It’s a fantastic marketplace for unique, handmade items you can give as gifts for any occasion.

Personal Favorites:

I love Me to We, an amazing company that is making serious impacts on every continent. I do not remove the two rafikis I wear on my left wrist, as a reminder and reflection of the solidarity I feel with women around the world.

I also love 4Ocean, working to clean up ocean and shoreline pollution around the world. Each bracelet = cleanup of 1 lb. of trash. I wear one (the sea turtle design) on my right ankle.

I am addicted to Diet Coke. (No but like, it’s seriously a problem.) Coke offers the My Coke Rewards program (redeem the codes under the lids/on packaging for points you can trade for cheap merch), but I found that the “rewards” were about as exciting and long-lasting as the junk from the prize counter at Chuck E. Cheese. Well, I wasn’t going to stop drinking Diet Coke, and my points kept expiring. Sad. Then, I found that you can “cash in” your rewards points as a donation to a school of your choice. Easy solution.

* They still exist, I promise. My personal favorite, in the Orlando area, is Best Used Books.

Automate Your Charity Giving

Use technology to do more, more easily. There are apps that make it easy for you to connect with those in need of charity in your area, or around the world. Donate time, donate resources, donate personally or from your business.

Personal Favorites:

Spend too much time on your phone? Ever use the Pomodoro technique to keep yourself focused? Forest is the app that lets you donate time off your phone toward planting a real tree somewhere on Earth. Because we will always need trees.

Run, walk, bike, hike, or swim with Charity Miles to have your mileage sponsored on your behalf. For every mile you clock, a corporate sponsor donates to the charity of your choice on your behalf. (I donate my miles to the Leukemia & Lymphoma Society, in honor of my brother’s fiance – a two-battle survivor of Leukemia.)

If you are in the food business – maybe you run a restaurant or catering service, maybe you manage a grocery or convenience store – you have dealt with spoilage, surplus, and other inventory issues. Donate extra food. (France made it a law that unspoiled food can’t be thrown out of grocery stores, it required to donate surplus food).

The solution that Philadelphia, Penn., has found is to connect food donors with local businesses, like homeless and domestic violence shelters, that need food. Use the Food Connect app to donate or receive – and leave the Food Connect team a message telling them you want Food Connect in YOUR city!

Charity Begins at Home

No matter how you choose to contribute to your larger community, remember to first and foremost contribute to those in your life who need it. Offer support, love, and compassion to the people you care about. This is an entire topic for conversation (for another blog), but, I firmly believe that if you take care of those you care for, there will literally be more love in the world.

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Tips for Consistent Quality Writing

tips-quality-writing

There’s a problem with doing something well: Once is rarely enough. When you do something (like producing quality writing) well, two things can happen:

  1. Other people begin to expect more of you, and
  2. You begin to expect more of yourself

For a writer, this can be great. A well-done piece deserves the admiration it receives, and you should be proud when an article, poem, essay, story, or book comes together.

But unless you’re one among the rare breed of author — and I mean really, really rare — who can launch a career from one great piece, a single successful publication will not a sustainable income make.

Setting Unreasonable Standards

So after your first great piece, you sit down to write the next one. Immediately the demon of comparison shows up on your shoulder.

What if it’s not as good as your first published thing? What if you don’t live up to the expectations for quality writing you’ve set for yourself?

On some level, you try to tell yourself, “Everything will be okay if it’s not ‘perfect.'”

So you let something slide. Relax a little on your vigilance to push the quality to its extreme.

But if your first high-quality product was noticed by the public, you can bet that any dip in quality will be noticed, too. You set a high standard that others now expect to see in your work, and when they don’t see it, they will let you know.

Setting Reasonable Writing Expectations

What’s the lesson here? How do you keep yourself from being caught in an endless loop of writing better and pushing yourself to the limit every time?

Well, you don’t.

Some people think they can avoid this challenge by settling for a lower quality piece and set low expectations at the beginning. But ask yourself: Why would you expect to get readers if you lower your standards?

Readers have fairly low tolerance for writers who treat them like fools. If you’re offering mediocre or low quality, they won’t be back for more.

With lower quality writing, you’re less likely to engage as many people to begin with or bring back the ones you engage with the first time.

So what to do?

Quality Writing Tip #1: Do your best.

One man’s trash is another’s treasure and all that. If your prose is clean and error free, and your plot is well structured with thought-out character arcs and a solid narrative, readers may forgive historical inaccuracies, use of clichés or bland characters and world building.

Do your best, and be prepared to hear that your best wasn’t “perfect.”

Present the reader with a polished package, and they may overlook some areas where it could be improved. Or, at least you’ll receive feedback on what to improve for your next piece.

Quality Writing Tip #2: Use feedback.

Don’t just “receive” feedback, use it.

If you received praise from readers, and you want to know why they thought your book was high quality — ask!

This might take the form of social media polls, reading your reviews and comment threads, or sending out reader copies  of your work and asking for specific advice.

Use what your readers say to recognize at least four things your readers generally agree was high quality about your writing or the book in general, and identify at two areas where you can push the quality to higher levels in the next poem or manuscript.

Quality Writing Tip #3: Look for quality to emulate.

Maybe you really admire colorful metaphors or quirky descriptions and world building. Maybe tight and minimal sentences are what you strive for.

Read books from some of the great writers in your genre or historical time period and pick out examples of what you think makes their writing great.

Work to structure your sentences the same way, use metaphors or descriptors similarly, or mimic the dialogue style that you find engaging. Whatever it is that you enjoy about reading their work, use as a model for your own craft.

Quality Writing Tip #4: Be patient. Quality takes time.

Be prepared to tackle your manuscript in multiple revision iterations.

Maybe one day, you revise the entire thing with a focus on word choice. Then, the next day, you do a read-through and edit to focus on historical accuracy. Stay focused on the areas you’ve marked for improvement and special attention. Be patient.

You might be midway through your outline and realize you need to do additional research or watch a movie that people recommended as a reference. Do it.

Don’t let the pressure to put out a follow up to your first well-received work push you to a hasty release of the next piece.

If you’re honestly working to improve, you must work as hard as you did the first time, so you can reach the level of quality you’ve already set for yourself. Then, push at least 25% past that. Work harder than you’ve ever worked before; the improvement will show.

Once you become recognized for your skill, enjoy it. But don’t stop.

No one wants to be a one-trick pony, and compromising on your writing quality ensures you will be.

Need Advice on Your Writing Quality?

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On Intransitive Emotions: Emotional Writing Practice

Pink blooming flowers on the branch of the bush. To express emotional writing and intransitive verbs.

Where Do Emotions Go?

Do feelings have direct objects? Many do. Most of the time.

We do not feel an emotion like love if it is not directed toward some thing or someone. We don’t usually feel anger without a source, a thing that is the reason for our anger. Whether or not anger and love are ultimately directed toward the correct thing is a separate issue. But overall, they are not objectless. Not without an objective.

But what about gratitude? Or loneliness? Or freedom? Or even anxiety?

Some human emotions, like some verbs in the English language, may not need to act upon a direct object. Some things we, as humans, simply feel without it being directed toward a specific thing. Regardless of who caused the emotion or where it came from. Or what we plan to do with it.

I have heard it said that grief is love with nowhere to go. How beautifully tragic. You have so much love, but no object to direct it toward. You’ve lost someone or something you love, and what’s left is this love with no object to love. So it is transformed into grief. And then what do you do with it?

If you can learn to harness and develop your most emotional writing, you may be able to direct these emotions and express their universality to others.

Emotional Writing Is about Range

Consider: It is easy to write about emotions that come from an obvious person or can be directed easily outward or inward toward some manifestation. It is easy to show through emotional writing that a character is angry based on his or her reaction to the circumstances.

But your writing can grow from learning to express the intransitive actions and feelings of life. The things we all simply feel. The things we can’t necessarily explain or simply express.

Consider the sentence: He ran.

The verb does not need to act on anything. It stands alone. No object. This is what makes it an intransitive verb.

What emotions might your character have that run by themselves? What emotional state does your character default to? What might be some of the intransitive emotions that your character feels but which don’t have an object? 

How can you express something like a character’s gratitude for the wind on her face with emotional writing? Is the character grateful to someone or something for the wind, or does she simply feel the gratitude without having anywhere to put it? 

Does your character’s emotion need an object? It can have one, sure, but it may not be necessary. Just like he can run quickly. Or he can run on the pavement, your character can be grateful to someone or something. Even if it’s ineffable.

And if you, dear writer, can make your characters’ actions and intransitive emotions tangible, you will lead readers into a much richer world through the emotional writing that draws readers in and makes characters come to life.

This may be something to incorporate into your own self-editing and revision, as well as an item to address with your creative editor to ensure you’re working together to make your emotional writing as creative and expressive as possible. 

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Ready to talk with an editor about your emotional writing?

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Chance, Luck, & The Deus ex Machina in Fiction Writing

chance-luck-deus-ex-machina

Fiction writers: It’s easy to be lazy. When you’ve gotten your characters into a difficult situation, you might think you can quickly move them to another location or give them what they need by including “as luck would have it” or “by chance,” and that explains how your characters saved themselves. 

Don’t be lazy. Move the plot with character motivations, and use chance and luck in realistic ways, to make the story more engaging and believable for the reader. 

What is the difference between ‘chance’ and ‘luck’

Chance is when your characters are in the right place, at the right time. Luck is how the ‘magic’ of their world affects them when they’re in the right time, at right place.

Let’s dig a bit deeper: Many people believe there are forces that pull on people’s lives. Untraceable energies, but persistent, energies like tides that move a person through their destiny.

Many other people believe that there is a force inside a person that attracts or repels other forces, making each person a more active participant in their own destiny.

Many people believe in a combination of both.

Forgive my oversimplifications and bear with me. My point is:

If you, as a fiction writer, understand how the elements of chance and luck work in life, you’ll understand how to use them to move your story’s plot.

Your Characters, the Deux & Destiny

In a narrative, consider the distinction between chance and luck. Consider whether your characters take chances or make luck for themselves.

Your characters will need to be moved from one place to another. It may be convenient for you, as the writer, to have coincidences occur – chance meetings, moments where “as luck would have it” – the character is in the right place at the right time. Or has the right weapon. Or snatches up the dropped item in the nick of time.

None of these are chance or luck. They are you putting a God in the machine to ‘magic’ away a problem.

Tone back the chance and luck. Save it for the best moments. Don’t make things easy on your characters. People who luck their way out of everything don’t grow, and frankly, are boring.

Fiction Writing Analysis & Example: Sean of the Dead

Remember in Sean of the Dead when Sean and his group are heading to the pub, and they run into Sean’s ex and her group of friends? That was a chance meeting. Logically, smart people familiar with the area would use the same unpopular escape routes and happen to meet up with each other along the way.

No information that saved the day was exchanged. No sacred items were passed or last messages left or dramatic rendezvous planned. It just so happened, two people who knew each other — but didn’t influence each others’ stories much — ran into each other. A chance meeting.

On the other hand, luck is when something that Sean and his friends needed happened to be in the right place at the right time, right when they needed it. While there are several moments throughout the film that could qualify, one obvious moment is the working gun at the Winchester saloon. After some dialogue earlier in the film about the rifle, as luck would have it, it was a ready-to-use weapon, with ammunition within reach.

Here, that lucky advantage is offset by a series of hilarious circumstances that oppose the characters and prevent them from taking advantage of the luck. None of the characters are willing or able to shoot the rifle. And once they figure out a method, a bumble with the ammunition quickly renders useless the most valuable, luckiest weapon they’ve come across.

This film is an example of good fiction writing keeping chance and luck believable, even in the most extreme of zombi-pocalypse circumstances. The plot moved forward through luck, then the luck was undermined; luck didn’t come through to save the day either. Although the writers had a chance to give the characters an advantage, they didn’t. They balanced good luck with bad, which kept the tension high in every scene.

The God Who Distributes Luck When It’s Not Needed

Fiction writers have the ability to distribute luck and chance on their characters at will, and often, many default to a position where they throw a lucky bone at a character in a moment of need. It’s trite — when will the character’s luck run out? The reader may begin to expect that nothing will happen to the character, which means nothing will happen in the plot. An overly lucky, unbelievable moment can throw a reader into a shrug and frustrated grunt, as they close the book or turn off their e-reader. 

Instead, be a different kind of fiction writer. Be the god who distributes luck when it’s not needed. Not in a malicious way, but when the character thinks they’ve found a solution, the lucky alternative presents itself. Or when your character is not looking for the chance encounter, it passes them by, but the reader sees it and understands what has just happened. 

Creating this kind of surprise interaction keeps the plot moving in fresh ways, and challenges the reader to guess what’s going to happen next, to keep up with the fun ride you’re taking them on. 

Keep your characters always needing something, and every lucky chance that presents itself getting them closer but not quite there, and you’ll keep your readers longing for more of the story of their eventual success. 

Need a creative fiction editor who can help you keep the plot moving or close up plot holes? 

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Writing Challenge: Include Sensations of Movement

writing-challenge-movement

Any time you complete a writing challenge, you encourage your own best writerly self. In today’s blog, let’s discuss the challenge of using action-oriented verbs to describe motion, movement, and physical sensations.

Movement Is Special

The universe is in constant motion. This is my understanding of its oh-so-important laws of physics. Movement is as natural and as important to the world condition as anything.

Whether writing fiction or nonfiction, it’s important to address your characters movements through space. How can you describe the movements of people in their mannerisms and daily life? And, how do you express the physical sensation of movement?

To get a sense of writing the physical sensation of movement, try this verb-oriented writing challenge.

Writing Challenge: Capturing & Embodying Movement

Write in a moving car, or on a train or bus ride. Or on a plane. The point is to focus on your body’s sensations during the motion. What is the sensation in your fingertips? On your skin? In your guts? Would you describe it as a rush? A crawl? A tingle? Dive into it.

Note: Of course, if you have motion sickness or this makes you ill, don’t complete this or any writing challenge that will be detrimental to your health.

For most people, spending a few minutes honing into this sensation with a dedicated writing challenge focuses their active verb choice. Make your mind aware that motion is tied to sensation, and you’ll put the reader inside the characters’ skin.

Looking for an editor to challenge you to take your writing to the next level? 

Year-Round Writing Challenge Bonus: National Novel Writing Month (NanoWriMo)

Are you the type of writer who’s up for a year-round series of writing challenges where you can partner and support fellow writers? If you’re not yet a member/participant, check out National Novel Writing Month (known as NanoWriMo). The official month-long writing challenge takes place in November, with mini-challenges that occur in March and July. Join editor Cortni’s writing group

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On the Bechdel Test: Writing Tip for Gender

Bechdel test -- women and gender in fiction

As the origin story for the Bechdel Test goes, a political cartoon from the 1970s depicted two women discussing a movie they had seen. One says to the other that there are three things she looks for in a movie in order to qualify it as a “good” movie: 

1. There have to be at least two women in it. 
2. They have to talk to each other. 
3. About something other than a man.

This continues to stand true. It is now a common litmus test for the issue of gender equality representation in film, commonly known as the Bechdel Test.

In general, ladies, we are taught to converse about many things, especially things which relate to men and having relationships with them. As a woman, I’ve noticed this more and more. I’ve kept track of how women relate to one another and the topics they choose to discuss around the lunch table, the water cooler, and the backyard, as it were.

To See A Difference, Do Differently

When I write, I think specifically about the world that I am building for my characters. Who do they interact with? Who do they relate to? What supporting characters populate and color their world? And, more importantly, who do they speak to and what do they speak about?

When writing, you must give yourself constant mini-Bechdel test checkups, to ensure you’re considering the realistic relationship between characters. Recently, while working on writing a developing relationship between two co-lead female characters, I sat and made a list of what defines their friendship.

How long have they known each other? What bonding experiences did they have that drove them together? How do they each see the other? And, perhaps most importantly, what do they talk about?

I wrote out a list of conversation topics — things they had in common or disagree about and keep circling back around to — things that didn’t include men or relationships with them.

For example, one of the characters owns a successful family business, while the other is trying to learn how to launch her own business, so they are able to often talk about business strategies and nuances of their industry.

They are both interested in natural healing and non-chemical cures for ailments, so they discuss plants, herbs, flowers, and they mix ingredients together to create their own formulas, like amateur apothecaries.

They are both interested in the history of the area where they live, and so they are able to talk about and visit together, places of historical interest. Of course, they gossip about the latest news from the British Royals, and they gush over clothing and lipstick colors on each other as they hang out and try them on, but it’s important to me to make sure that their relationship is real, dimensional, and about more than just tragedies in their lives, men, and tragedies that involve men.

What might your characters bond over? Keep your ideas in a scrap heap until you’re building specific people in a specific world.

Focus on Female Characters' Interests

Every (significant) character should have hobbies and interests that make them a believable, well-rounded person. And this might be doubly-true for female characters; traditionally, they are not expected to be much more than props in literature, and although a century of work against that means that the greatest novels include rich, lively female characters, there is still work to be done to ensure that future generations of female readers see women they admire talking about things they’ve never considered before.

Ideas. Perspectives. Personality. If a young female reader is first introduced to the concept of astronauts through female characters, imagine how that might teach her that women are more than pretty — they are the next generation of leaders.

Consider: How do clothes affect your characters? What is important about what they wear?

Reverse Bechdel Test

Less commonly discussed is something I like to call the “reverse Bechdel” test. Just like you want to have a fleshed-out cast of female characters who bring their own knowledge and non-male-oriented agendas to the table, you also want to have well-rounded male characters who are more than women-hating or women-obsessed.

I encourage you to apply a Reverse Bechdel test to a scene where you have two or more men talking — if they’re talking about women, is it in gender stereotypical way? Push yourself to examine your male-to-male conversations and how they talk about the opposite gender. 

Writing Tip of the Day: Write Single-Gender Conversations for Bechdel Test Mastery

As a writing exercise, write a scene where a group of male characters are sitting around a male-comfortable space (like a barber shop, bar, street corner, etc.), talking over a subject. In particular, don’t have any of them bring up women, at all. Nobody comments on a woman’s appearance, no one complains about their relationship, nobody talks about anything sexual.

It might be easy, it might be hard — depending on the story you’re telling. But make sure that at some point, if you want to show strong male characters who are not simple tools of their hormones, show an intelligent conversation between men about a topic that is non-women related.

Additionally, write a scene in which a group of men is discussing women, and make it as honest as you can. To prevent the men from becoming blurred together and indistinguishable, develop their personalities by the ways they talk about women. What women are they talking about? Why? And how?

If you can show the men’s true characters in four or fewer statements about women, the reader will truly feel like they know and understand those characters in any other scenes in which they appear.

Then, challenge yourself to write similar scenes but using only female characters. This exercise may not be a traditional use or understanding of the Bechdel test, but practicing gendered perspectives will develop your overall skills as a writer, undoubtedly. 

Need advice on developing your work in progress?

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Fullness of Absence: Capturing Silence in Writing

fullness-absence-writing

While listening to a video about personality types, something happened which often happens to me: I started thinking. About silence. In writing. Thinking…

Oh no, you say. Not again, you say.

The speaker in the video said something along the line of: Extroverts think silence is space to be filled, and introverts think silence is a space to be cherished.

I see her point. I know what she’s trying to say. As an introvert, I relate. But then I thought, Well, silence is a space that’s already full.

Maybe it’s not how all introverts see it – I can’t speak for anyone but me. But to me, silence seems to be bursting. And, if writers can capture that silence in writing the moment just right, they will capture an ethereal moment of experience that might otherwise be missed. 

The Fullness of Silence (in Writing and in Life)

Silence is full with the sensation of crusty boogers in my nose, and it’s full of the colors of the trees, and it’s full of the shape of the clouds. A lack of sound doesn’t mean anything more than a fullness of other senses.

It is because it is empty that the cart is useful.**

Silence and an empty cart are not useful in the same way. The cart is not lacking. It has purpose and is full of potential.

Silence is also not lacking. It is a moment rich with the absence of sound. It has purpose of being non auditory and is full of the richness of life without sounds.

There’s a there there, not emptiness. Silence, in writing and in life, is the time when and the place where we can feel life moving

**Tao Te Ching, verse 11

Need someone to support your ideas and help you cultivate silence? Consider developmental editing.

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Writers Are Weird — YouTube Shout Out

writers are weird -- jenna moreci -- writing tips

Writers need to stick together. Like barnacles.

Strange creatures that we are, we mingle best with our own ilk. Well, maybe that’s not even true. Maybe we mingle with many types. Maybe not. But, no matter your exact experience, you have to admit that writers are weird.

YouTube Shout Out: Jenna Moreci

I love Jenna. An animated, quirky, off-the-cuff, lovable genius. Her entire channel is entertaining, helpful, and provides advice on a range of topics that give new writers hope and keep experienced writers motivated.

Check out: The Nine Weird Habits of Writers

This video tells the sordid tale of a writer and her own mind. By the time Jenna got to number two or three, I was crying with the giggles and sharing the link with my boyfriend so we could laugh together about the fact that I wasn’t the only crazy writer out there.

What’s so weird about writers? Well, according to Jenna (and seconded by me), writers can be smelly, coffee-swilling, hungry, night-dwelling, emotional, isolationist, laptop-clinging weirdos. We might like to be left alone — to watch people, but not to interact with them. We treat not-real people like they’re real and real people like they’re an inconvenience. We may push people away while we crave connection.

If you’re a writer, or want to be a writer, or you need a good laugh, check out Jenna. You’ll find that you’re not the only one.

Editing makes me happy. Need editing?

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Decision Making & Writing Your Novel

plan and outline your fiction novel by thinking through every decision

Planning your novel

You have an idea for a novel — that’s great. Now, putting together a plan for it can help you actually see it through and make it everything you hope it can be.

Planning a novel requires conscious decision making. You’re creating a world. You’re creating lives. You’re creating realities. It’s serious business. (Better put on your kill-em-dead lipstick now.)

One way to make decisions while outlining, designing characters, and choosing the aspects of your novel’s reality: consider the question that Jeff Bezos asks himself:

Is this a reversible or irreversible decision?

With this straightforward question, you should be able to help prioritize the decision-making and better structure your plot, themes, and symbolism.

If it’s a reversible decision . . .

Simple decisions can be made quickly and changed later if necessary. Can the decision be reversed? or altered, even? Then make it quickly and get on with whatever you’re writing.

For example: You want to write a scene where two lovers are having a spat a restaurant. You ask yourself, “Well, is it an Italian or Mexican restaurant?”

Does it matter to the plot of the story? Is it something you can tweak later? Then don’t trip. Pick one and write the scene with the appropriate details – delicious menu items, atmosphere, pertinent dialogue.

Now, be wary. Don’t begin writing off all questions with, “Well, I can always change this later.” You will begin to overcomplicate your plot, and multiple revisions can and will lead to inconsistencies.

If it’s an irreversible decision . . .

Decisions with lasting effects should be given some consideration and development. Will this decision affect the story in more ways than one? Will it somehow trigger a domino effect in a web of tangled plot threads that you don’t want to see unravel?

For example: You want a character to stand out for her looks because of a scar or birthmark on her face. Then, in one scene, you attempt to put her in disguise without mentioning how that distinguishing characteristic is covered. If no one recognizes her and she isn’t caught, the reader will see the plot hole.

Choosing a physical feature or personality trait for a character (or setting) is irreversible unless you show why that character has changed.

If you portray and describe a father-figure character as nurturing and receptive, that is an irreversible and defining characteristic that the reader will expect to stay consistent, unless given reason to believe in the change.

Choosing a profession, hobby, or area of expertise for a character carries its own burdens of verisimilitude. The reader will lose belief in your characters (and you) if they don’t seem to know much about their own job descriptions, the fashion of their profession, the details of their so-called interests, or the social discussions of topics they mention.

Don’t say a character is a veterinarian merely so your character can have “a job.” If you’re going to make your character a medical doctor of veterinary medicine – someone who has dedicated years of their life to the study and care of a range of animals – you need to show personality characteristics and lifestyle choices that align with that job.

There’s nothing like reading a character who is supposed to be a social worker, or cop, or a teacher, and being able to tell that the writer has no clue what someone in that profession does.

🌹 🌹 🌹

Editors make everything better. Contact me.  Get help with your writing decisions. 

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Creative Fiction Writing: The Importance of Animals in World Building

using animals in fiction world building -- fiction and novel writing tips

Most creative fiction writing (and nonfiction books) revolve around and portray human life. Typically, people are a big part of people’s lives and the world we live in.

You know what else makes up your world? Animals. A lot of them.

Write a Realistic, Creative Fiction World

From pets to pigeons in the park to sneaky spiders slinking along behind your refrigerator while you sleep, life is full of creatures. Don’t neglect adding them into your stories for action, rich description, and a change of pace.

Why do animals matter? Where do they fit in your story?

Animals add texture, sounds, tastes, smells, and characterization to a story, and they can fit into nearly any scene.

Writing Animals Exercise 1: Pets

If your character owns a pet, consider not only how the ownership of the pet enhances the human’s characterization, but consider how the animal itself becomes a separate character. Pets have emotions, respond to and interact with their humans, and add something to human life. Not only will your character reveal what type of person they are by how they treat their pet, but the big picture of their life or their society can be shown through the thoughts, actions, choices, or personality of their pet(s).

Consider how the pet will affect the person’s life constantly—dog hair woven into every article of clothing that the character deals with throughout their day, or a cat who marks your character’s suit jacket and although the suit’s been drycleaned, the smell sticks to him. Consider how people with pets often rearrange their schedules, priorities, and finances to accommodate these animals.

Writing Animals Exercise 2: Meals

If your character is an omnivore, consider how animals—the sight, smell, taste, or thought of them—affect their meals. If vegetarian or vegan, your character may be very consciously aware of the presence of animals during mealtime.

Whatever their food preferences, you as the writer can consider how the presence or absence of animals during mealtimes shapes your characters.

Writing Animals Exercise 3: Outdoors

And, depending on location, consider indigenous animals that give zest to places around the world. In some cities, monkeys swing through trees, or parrots fly overhead, or oxen are a common sight. As natural and unassuming as the wind, animals give life to the world.

No matter where your character goes—except maybe in space—there will be animals. In the fields, there are insects chirping, birds flying overhead, and snakes slithering underfoot. In the city, there are rodents that scamper along building walls (remember: squirrels are rodents too!), and neighbors who keep strange exotic pets.

Creative fiction does not need to be in a “real” world, but it does need to be realistic. If realistic, your fiction writing will be believable. A written world is not a believable world if it disregards animals.  

Contact SRD Editing Services for line editing on your creative fiction writing