Writing

Writing Groups Are Great, But…

Aug 18, 2014 | Writing

Writing groups are great – there’s nothing better than spending time with people who have the same desire to write as you do and understand the writing life.

Everyone brings something new to the table, whether it’s an opinion, something they learned in a class or at a writing conference, deeper insight into publishing – whatever it is, the takeaway can be extremely helpful.

But it can also stop some writers in their tracks. It happened just recently to a writer friend of mine. We’ll call her Zoe for the purpose of this post.

She was going full steam on a mystery novel that she was really excited about and having a great time writing. One week she decided to submit a chapter to her writing group for a critique and was very excited to get their input and reactions.

As expected, she got a lot of different opinions, suggestions, and ideas. Stimulated and motivated by all the helpful insights, she returned home with her notes and went to work on her revisions.

The next month Zoe resubmitted the revised chapter. A couple of members who were absent at the last meeting were present this time. Their critiques were in direct conflict with the ones she’d received the previous month, but they were just as strongly confident that their way would improve the book. And some of the members whose suggestions she’d taken didn’t quite care for her rewrites. They wanted it to sound their way. In fact, one went so far as to try to change her voice, while another didn’t like the idea of which character she killed off. Yet a third felt the body should be found already deceased because she didn’t like books with any kind of violence, and she was adamant about that point.

This all took a bit of a toll on Zoe. While she welcomed and felt initially stimulated by all the input, she found that when she was considering all the new suggestions, she started feeling confused and overwhelmed. She lost interest in the book and turned to an entirely different hobby for a while.

When she finally confided in me about her conundrum, I reminded her that this was her book and no one else’s. Everyone has an opinion, a theory, or a preference – even bestselling authors have their detractors. And some of them have dealt with editors who tried to change their voice or story direction as well. I told her she needed to weigh the advice she was getting and decide what worked and what didn’t for her manuscript.

You, as the author, have the final word on your manuscript. These are your characters, your situations, and your story written your way. Take the suggestions that work for your manuscript and discard the rest. People give lots of well-intentioned critiques, but the story is ultimately yours.

I’m happy to say that Zoe’s manuscript is back on track and now almost complete. Her enthusiasm has returned, and she’s learned how to manage the input she gets from her writing group members.

So listen to the critiques but hear them as suggestions, not definitive answers, and never let them get in the way of your writing. The most important opinion is yours.

Can Writing Courses Kill Your Writing Career?

Aug 11, 2014 | Writing

by Anita Stratos, Proof Positive editor

It sounds counterintuitive, doesn’t it? Writing courses are supposed to help build your writing career with insights into style, content, character development, and all the other things needed for a good novel. They also offer a good opportunity to network with fellow writers.

So how can something so good be bad?

When it’s misused. And I was a prime example of that.

I’ve taken lots of creative writing courses through the years, starting in college and then into post-graduate classes, and I got some good information and resources from each. In fact, I was able to use some of my writing exercises in my fiction writing. But after attending a number of them (I won’t say how many!), even though each one had a
somewhat different slant on the subject, I noticed that there was a lot of repetition.

Why can’t they come up with original content? I thought.

eleve_posant_une_question Well, they had. But there’s only so much original content creative writing courses can have. Each one dealt with a different aspect or specialty within creative writing, but there’s always that common ground that all creative writing classes have to cover.

And that’s when I realized that the old breakup line applied here: It’s not you, it’s me.

I needed to break up with writing courses.

I’d become a perpetual student. Every time I’d embark on a new piece of fiction writing, I’d see another course I should take. Who was I to think I was ready to write a novel when there were still so many courses I hadn’t taken?

I misused writing courses as an excuse to not actually do the writing. I always felt I needed more information, better direction, deeper insights into the craft. The dawn finally broke when I realized I was looking at taking a course on breaking into magazine writing – after I had already established myself as a freelance writer and had a couple hundred articles published from the local to the international level.

How much more “breaking in” did I need? At that point I could probably have taught the course!

So yes, take those courses when they’re relevant to your work. But don’t overdo it – don’t forgo the writing for the course-taking. Courses are meant to enhance your writing, not replace it.

Why Freelance Writing is Your Creative Writing Inspiration

Aug 8, 2014 | Writing

by Anita Stratos, Proof Positive editor

One thing I’ve noticed about the writing world – it likes to separate itself into groups. I’m not talking about genres. Two of the main groups I’ve noticed are “Writing for Hire” and “Creative Writing”, and members of each can sometimes cast disapproving glances at the other.

Though it may seem that never the twain shall meet, they do…if you look at your paid gigs through creative eyes.

I’ve had about 1,000 articles published, most of which are in print publications, but a couple hundred are in either online publications or publications that are both online and in print. I can safely say that only a scant few of all those published pieces are completely devoid of fodder for my fiction writing.

Here’s an example.

When I was writing feature newspaper pieces, I had an assignment to interview a man who trains guard dogs. The focus of the article was not only to discuss his business and how he happened to get into it, but also how people could train their own dogs in property protection.

Sounds simple, right?

Well, you just never know. And that’s one of the things I love about freelance writing.

While heading to do the interview, I had to double check the address when, in an upscale suburban town, I turned my car into the one and only driveway that looked like a jungle, completely enveloped by overgrown trees, vines, and shrubbery gone wild. I could almost hear the call of macaws and the roar of lions. The entire property was isolated by quite a few acres of “jungle”, so there were no immediate neighbors.

When my car emerged from the long, overgrown driveway, I was greeted by the sound of deep, angry barks coming from huge, muscular dogs in crates; none of them looked happy to see me. Their crates were scattered on the hard dirt ground around a small red ramshackle house that had seen much better days.

I was terrified to get out of my car. I had arrived on time, so I waited for my interviewee to Baddog come out of the house, since his living alarms had all gone off and were making more of a racket than Fourth of July fireworks.

But no one came out, so I called him from my cell phone. He laughed and told me I didn’t have to worry about the dogs, but I wasn’t buying it – they hadn’t taken their eyes off me and looked like they wanted to tear right through the cage bars to get at my throat. He laughingly agreed to come out.

His appearance shocked me. He was about ninety years old and on the frail side, with unkempt flowing white hair, a worn red plaid shirt, and jeans from 1950. He didn’t look like he could stop an ant, let alone stop one of those massive dogs from attacking. I figured we’d talk about the dogs (quickly), tour his training grounds (very quickly), and I could get the heck out of there.

Not so.

He escorted me between the cages and into the house, despite every one of my own internal alarms going off. The rooms were tiny, outdated by decades with torn furniture, and there were yet more cages with hundred-pound dogs growling and barking. These didn’t seem like trained guard dogs – they acted more like hungry attack dogs.

That isn’t the end of the story, but you get the idea.

This and many other interesting situations (thankfully not as dangerous) happened regularly in my life as a “writer for hire”. The possibility for storylines, subplots, and quirky characters is endless, even when you interview people and write about situations that aren’t as extreme. So many things can be discovered during interview conversations that it’s an endless supply of behaviors, quirks, language use and misuse, habits, surroundings – the list goes on and on.

So don’t turn your nose up at freelance writing to supplement your income as a fiction writer, just view it as living, breathing fodder for your novels…that you’re getting paid to discover.

Intention vs. Reality in Writing

Jul 17, 2014 | Writing

“But Your Honor, I intended to help that little old lady across the street. Her purse handle just happened to loop over my arm, and I didn’t realize it was there until I was several blocks away and that cop tackled me!”

Do you think any judge in the world would believe that statement? More importantly, do you think he even cares about the thought process or supposed intention the defendant had? No? Well, the same thing goes for writing – readers are your judges, and they don’t know or care about your intentions, they only know and care about what’s actually written on the page.

And since the only reality your readers know is what they read, you have to make your intentions perfectly clear in the written word. Readers can’t stop to think about what you Question_Guy may have intended when a scene or sentence doesn’t quite make sense or fit with a character’s personality or situation. Nor should they have to. And they’re not mind readers either.

Sometimes when we’re writing, we’re so in touch with our characters and their situations that we don’t clarify our intentions in a scene well enough.

Have you ever had a teacher whose lectures could only be understood by someone already knowledgeable in the field, while those of us on the “outside” couldn’t grasp their meaning? Or read instructions that skipped over the details and assumed the user would just “get it”? I think we’ve all experienced at least one of these things; personally, I’ve been on the receiving end of both. And it’s very frustrating.

Writers hire editors to take an objective look at their work before it’s published – at that point, the editor is one of your first readers, so if something is unclear or confusing to her/him, it will most likely be unclear to your future readers as well.

An editor’s job is to point out these problems within a story and suggest a better way.
A writer’s job is to take that point constructively and seriously consider the possibility that it needs modification in order to be easily understood or fit with the rest of the story.

But sometimes a writer is so married to their work that they become defensive about every line, even saying that they think readers will understand their intentions that aren’t written or just allow for incongruous scenes. If you, as a writer, hear yourself saying that, STOP. While the final decision always belongs to the writer as to how the book is written, it serves your book – and your readers – best if you consider the possibility that your intentions are not coming across in your writing.

The upshot: unless you’re writing experimental literature in which readers expect and want to spend time figuring things out, your words need to clearly convey your intentions, not suggest or skirt them.

Celebrities Are Off Limits. Here’s Why.

Jul 15, 2014 | Writing

The next time you’re going to include a celebrity name in your book, DON’T DO IT, even if it’s flattering! You could be sued for something you didn’t even know you were implying. In the French book La première chose qu’on regard, author Grégoire Delacourt included Scarlett Johansson’s name when someone mistakes the main character for her – but is clearly not actually her. According to this article on Melville House Publishing’s website, Johannson sued because the character who looks similar to her (remember, this is not a movie with an impersonator – just a book) has two affairs, and she claimed in court that this was defamatory. Both the author and his publisher were shocked that they lost the case and had to pay damages.

How can you, as a fellow author, avoid being blindsided by something like this? The answer is simple, albeit a little annoying: avoid using famous people’s names altogether. Instead, rely on your ability to describe characters clearly. More specifically, make sure to describe key features of a celebrity, focusing on things that make him or her stand out, things that make him or her recognizable. If you describe a character accurately enough, your reader will understand who you’re alluding to. Not only will this keep you from being sued (apparently), but it will also speak to your writing abilities.

Description is one of the most important parts of bestselling books – something we’ll soon talk about in more detail. Use this French author’s unfortunate problem as a lesson for yourself – and an opportunity to improve your own writing to avoid such misfortunes. After all, how can it hurt to NOT offend a celebrity?

How (Not) to Write a Novel

Jan 16, 2014 | Writing

I always sing author Quanie Miller‘s praises because she’s such an outstanding writer. In fact, I did a fun and interesting interview with her in 2013 about her premier book It Ain’t Easy Being Jazzy. As the owner of Proof Positive, I am proud to be featured on her blog with my guest post, “How (Not) to Write a Novel”. I’d love it if you comment and ask questions – I will answer every single one. Take advantage of some free advice from an expert editor!

End It Like an Olympian

Nov 2, 2013 | Writing

Strong endings are even more important than strong beginnings. Does that statement sound crazy to you? Especially since we’re constantly told that we need to grab readers in the first paragraph or two of the book in order to turn browsers into buyers?

I’m not saying that you shouldn’t write and polish your book’s opening so that it gleams with captivating rays of temptation. You should, of course. But your ending needs to be at least as powerful, satisfying, and memorable as that beginning, or else your readers’ lasting impression – which turns into word of mouth – will result in a loss of future book sales.

Think about it – there’s a big difference in your enthusiasm when you say:

“The book started off well, but it kinda fizzled and left me hanging at the end. It seemed like the author lost interest and just ended it.”

As opposed to when you say:

“Well the book started off a little slow, but it picked up quickly and ended up being really good.”

You KNOW the disappointment a book makes you feel in the first scenario above. No one will interpret that first statement as a recommendation. It’s the last impression that leaves a lasting impression of the author.

On the other hand, the second statement is usually said with a positive tone and enthusiasm, and the listener’s eyebrows usually perk up as they make a mental note of the title. (Though ultimately you’d want to rev up that slower start.)

Scientific studies have backed up the importance of a last impression. One study was done with kids on Halloween: one large group of kids was given a single full-sized candy bar only, while the second group of kids was given the same full-sized candy bar followed by a piece of bubble gum.

You’d think getting two pieces of candy would make kids happier, but it didn’t – surprisingly, the kids in the first group were more enthusiastic about their candy bar than those whose final impression was of a piece of bubble gum, even though it followed the same candy bar. That speaks volumes.

Other similar studies were done with adults, including a medical study involving patients getting colonoscopies. The patients whose exam lasted longer but had less pain and discomfort in the final extended minutes of the exam were more likely to return for a follow-up than those whose exam was shorter but ended during a period of discomfort.

And so it should be with your book. Leave your readers contented, enthusiastic, and with the satisfaction of getting a full-sized candy bar.

How Do You Name Your Characters?

Sep 10, 2013 | Writing

The names you give your characters are more important than you may realize, but how easy is it to choose a name which creates the right impression of your character? Not so easy! Everyone has a different impression of common names because most readers have met Sarahs and Matts and Jennas throughout their lives. As you read those names, did particular pictures or emotions flash through your mind? They will flash through your readers’ minds. So how can you pick a name that gives the right impression? Here are a few things to consider:

Extremely common names can cause readers to picture someone they strongly relate to that name, which can fight against your own description of the character.
Names that are spelled in an unusual way which may be hard to pronounce can cause readers to stumble over them whenever they appear in your text. Readers may even end up skipping over those kinds of names. For example, unless you’re writing a book which takes place in or around Wales or is historical fiction having to do with that area, you might want to reconsider names like Angharad or Ercwlff. Owain or Davydd might be better choices.
Names commonly related to something like religion will predispose your character to a biblical or innocent impression.
Most importantly – and this overrules everything – no matter what you name your character, whether it’s Ashley, Angharad, or Mary, strong character descriptions throughout your book will make or break not only the general impression the reader gets of the character, but to what depth the reader understands your characters. Light description of the character’s looks and traits will lead the reader to picture whatever they want. Well thought out descriptions peppered throughout the book with consistent traits and mannerisms will give the reader a clear idea of what YOU want them to imagine.

How do you choose names for your characters? What kinds of names are most common in your books?

“Literally” Is The New “Figuratively”…And Other Word Anomalies

Aug 28, 2013 | Language, Writing

Language evolution is an understandable and even necessary thing – linguists agree that when a language stops evolving, it quickly becomes a dead language. But English is undergoing an interesting type of evolution: word definitions are changing and expanding to conform to formerly incorrect usages, even if that means that two definitions of the same word are actually opposites of each other.

Take the word “literally”, for example – the latest evolutionary victim. Countless articles have been written about the misuse of “literally”, advocating for its correct use and trying to get writers to stop saying things like “I literally fell off the face of the Earth for a while”. Thinking of “literally” in its literal sense (aka actual meaning), you’d picture someone actually falling off this planet, as if gravity suddenly decided to release that one person. And then that same person would be drawn back after “a while”, like some invisible magnet stretched out to reattach them to the surface. That’s the kind of imagery such a misuse could evoke in a reader’s mind, which can stop them from reading and draw their minds right out of the story.

But the English language, in its infinite evolutionary process, has decided that rather than making people use language correctly, definitions will be altered to conform to language misuses, even if it has to twist itself into an oxymoronical (say it enough times and it, too, may become correct) pretzel.

“Literally” now has these two opposing meanings according to Merriam Webster:

1. in a literal sense or manner: actually <took the remark literally> <was literally insane>

2. in effect : virtually <“will literally turn the world upside down to combat cruelty or injustice” — Norman Cousins>

So now, because of continuous misuse, a person can say that they “literally fell off the Earth” and still be correct in using it just for emphasis. This can become confusing in some cases, though – what if that story was a futuristic piece and the possibility of sudden disappearances of small areas of gravity were as possible as sink holes? A reader might interpret the writer’s figurative use of the word as a literal use instead, and he’d be confused when follow-up text proved his interpretation to the contrary. In that case, he’d probably have to go back and reread that phrase again, which is annoying to any reader.

So while the language is giving us permission to use words in opposite ways, it may still not be prudent for writers to walk away from smart writing in favor of acceptable writing. The problems that it can bring up might just make their novel literally fall off the face of the Earth. 😉

eBook Plague – Errors Aplenty

Aug 7, 2013 | Proofreading, Proofreading errors, Writing

“Annoying.” “Very irritating.” These are just a couple of the most common descriptives readers are using when talking about their frustrations with the numerous errors in e-books.

These readers are asking Amazon and other e-book distributors for refunds without finishing the books….and they’re getting them. This should be Chapter 1 in the “Don’t Let This Happen To You” handbook for indie writers.

It’s such a prevalent problem that there are entire forum threads in which readers are complaining about this problem. To give you some idea of their feelings, one of those readers said, “I really believe that writers need to make an effort and deliver a product worthy of what we are paying for it.”

Another contributor voiced a similar feeling, which sums up the sentiments of most, “When I pay for a book, I want it to be done correctly.”

Yet another reader had great advice for writers, “Stand out in the crowd – make that effort, and give readers the best experience possible. They’ll thank you with repeat business and recommendations.”

Information like this is extremely valuable to indie authors because it gives us important insights into what readers want, don’t want, and won’t tolerate. And let’s face it – once you turn a reader off with so many errors that they can’t read on, they’re not likely to give your upcoming books a chance.

So how can an author produce the cleanest copy and best possible experience for his/her readers? Some rely on proofreading software, but that doesn’t always do the trick. Here’s why:

1. Much like spell checking tools, many times it will allow incorrect words to remain unquestioned because they’re spelled correctly.

2. It won’t always pick up repetitions of words or phrases and so many other things that require a trained human proofreading eye.

3. OCR (Optical Character Recognition) scans are notorious for misreading certain letter combinations, especially in certain fonts: “th” can be misread as “til”, “1” instead of “i” or “l”, and “rn” is misread as “m”.

Rampant misspellings, punctuation errors, characterization problems (among the top three complaints), and spacing issues should all be corrected before you publish your book, especially if you introduce it through a limited time free offer – lots of readers take advantage of those offers, and word will quickly spread if they are annoyed by errors. As the saying goes, “you never get a second chance to make a first impression”.

Don’t take chances – nothing beats the accuracy of a sharp, trained, professional proofreader’s eye.

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Next Entries »

Writing

Writing Groups Are Great, But…

Can Writing Courses Kill Your Writing Career?

Why Freelance Writing is Your Creative Writing Inspiration

Intention vs. Reality in Writing

Celebrities Are Off Limits. Here’s Why.

How (Not) to Write a Novel

End It Like an Olympian

How Do You Name Your Characters?

“Literally” Is The New “Figuratively”…And Other Word Anomalies

eBook Plague – Errors Aplenty

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How to Choose Comp Titles: Mix and Match Multiple Aspects of Your Novel

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