A Complete Guide to Sprinting During NaNoWriMo

Happy Friday, everyone! Whew! Day three of NaNo and I'm sitting at 12.5k words (and I'm not done writing for today).

What's that you ask? How?

Easy.

I've been doing writing sprints.

What the heck is a writing sprint? Great question!

Writing sprints are set amounts of time where a writer produces words as quickly as they can. Once the timer buzzes, they stop and do a word count, then pick up again when the next sprint starts.

Person with the most words gets a round of applause (or sometimes, a prize, depending on the sprinting group--however, this comes with an issue: cheating to win--when there are no prizes, no one has a need to falsify their stats, and nothing needs to be verified).

Sprints (typically) last anywhere from 15-60 minutes. They can be done on any social media site, though the preferred space is usually a designated thread on Facebook.

Brought to my attention by fellow author Ali Winters (thank you, woman!), there's a sprinting page on the NaNoWriMo site that will accommodate individuals as well as groups. Click here to be taken to that page. If you look below, you'll see the two options at the top and a "Dare Me" button near the bottom. I'm the curious sort, so I clicked mine. Below are the results. It changes every time you press it, too. Fun stuff.

I didn't play around with the group sprint button yet, but I have half a mind to get some of my writing buddies together and do just that.

Now, here's how to get the most out of your sprints:

1. Know where your story is going. I like to plan a point about 10k words in that I know I want to get to, and build the prose up to there, but some folks go 2k. Whatever floats your boat, ya know?
2. Write furiously for that half hour. Turn everything else off and be with your words.
3. Give yourself plenty of time between sprints to refresh, go pee, or get coffee.
4. If you can, take your eyes off the page and look elsewhere (or just close them) while you type. This will prevent you from noting and backspacing out misspellings, bad punctuation, or other flubbubs we writers make.
5. Don't burn out. Take long lunch breaks or whatever other break you need when you need it.
6. Try not to write a lot during your lulls (the periods between sprints). Use that time to plan what you'll write when you come back to sprinting or to just veg.
7. Keep something to drink handy. Though you may not need it, it's better to have it and not use it. *grin*

Here's how my sprints are set up:

• In the morning, I set a block of 1-3 hours aside (lately it's been 10AM, 11AM, and NOON). 
• The first 30 minutes of those hours are used for sprinting, and the second 30 are used for tweaking, fixing my crazy misspellings I got from not looking at the screen, and marking things I want to take a closer look at later (during edits). 
• Then I break for a long time (like 2-3 hours--NOON-2 or 3PM).
• More time is set aside for later. Again, 1-3 hours (it's been 8PM, 9PM, and 10PM, but this week is a special one, so that will likely be cut by Monday.)

I'll show you next week's projected schedule so you have a better idea (life things have to happen on different days, but I'm not going to worry about it). I also don't write on weekends. Those are for my family. I refuse to succumb to writer burnout.

M-F

9AM - Sprint for 30 minutes

10AM - Sprint for 30 minutes

11AM - Sprint for 30 minutes

NOON-2PM - BREAK TIME (real break--no looking at my WIP)

3PM - Sprint for 30 minutes

4PM - Sprint for 30 minutes

Thing about it is, it works. I'm averaging 1k words every 30 minutes. If I sprint for 30 minutes, 5 hours a day, I've written 5k words. I know that doesn't seem like a lot, but when you see that counter go down on your NaNo dashboard under "words per day to finish on time," you'll feel like a flipping ROCK STAR.

Any tips to add to the above?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

How to Win NaNoWriMo in 7 Easy Steps

Happy Wednesday, good people of the blogosphere! Wow. Just wow. I started NaNoWriMo yesterday, and I'm pumped. I missed NaNo the last 2 years, but I won in 2012 and 2013. Not only did I win, I did so while taking days off to spend with my family and getting down time. I'll show you.

I've marked the days I had no progress with a red bar over the top.

These were my stats for The Bird in 2012:

As you can see, I took Thanksgiving week off.

These were my stats for I, Zombie in 2013:

Your eyes aren't fooling you. I wrote that book in just 10 days.

HOW DID I DO IT?

Well, I stuck to the following seven rules:

1. Know where your story is going. Something not a lot of folks realize is you can plan ahead, and even create an outline, before November 1. Even if you haven't sat down and thought about it yet, there's no time like the present. Even rough plot points you want to hit over the course of the novel will help more than I can say.
2. Don't shoot for the word count NaNo says you need per day. Double it. If you can, triple it.
3. Set aside time to write each day. UNinterrupted. No social media. No email. No work. You'll be surprised what you can do in fifteen or thirty minutes when you're focused. Schedule around things you have going on in your life. Stick to the schedule like glue.
4. Have a NaNo survival kit ready. Even if you haven't put anything together, take a day and do it now. It'll save your forehead later on. I no longer use Evernote. I now use MS Word 365 with the sync across devices feature. I have my MS on my phone AND my iPad, and it updates to my computer automagically. Here's a link to my kit: Jo's NaNo Survival Kit
5. Do NOT panic. If you fall behind, you CAN still catch up. If you need that break, take it, but be disciplined enough to come back when you're done.
6. Make sure friends and family know what you're doing so they can respect your time. 50k words in 30 days isn't a joke.
7. Stay on task. Tack these on the wall behind your computer. I know that may sound hokey, but looking up the tiny details will bog you down as you write. Take some time and make them now. I swear it helps. Don't edit. That can come later. To go along with that: Don't read the whole story until December 1. Make notes of changes and put them into action later.

I'm pretty sure I didn't miss anything, but it's early, and I'm eager to write today. *grin*

Several groups have write-ins, so check the forum for your local chapter. You can also scour Facebook to find people doing writing sprints. Those are AWESOME.

This year, I'm not shooting for one novel; I'm working on several novella-length titles for the current F5 project. Using the NaNo dashboard to keep up with my progress. No, I won't validate once I'm done. I'm just in it for the fun of writing.

Here are my current stats:

Abysmal. LOL! But I'll get there.

How are you all doing? If you wanna be my writing buddy, add me here.

Well, that's all for today, folks! WRITE ON!

Jo

Writing, Thinking About Writing, and Why Both Matter - A NaNo PSA

Happy Wednesday, everyone! Well, we're in the throes of NaNoWriMo, and I figured you could all use a little pep-talk today. If you're keeping up with the daily word count of 1,667, you should be at 18,337 words by the end of the day.

But what if you're not?

Well, I'm here to tell you that it's going to be okay. What you don't hit today, you can make up for tomorrow. Just don't let it go untended for too long (like, say... December 1), because it'll become impossible to catch up.

Let's look at it this way:
1,667 words per day to hit 50k
BUT
If you're a writer who typically hits 3-4k in a day, you'll only have to do 2,381 every weekday in November.
OR
You can write every other day, and set a goal of 3,334 words to hit that 50k.
AND
If you miss three days, your daily word count goal only goes up to 1,852.

So don't stress if you miss a day or two. It's not going to be the end of the world.

But what about that second part: Thinking About Writing?

When you're not writing, you should be creating your novel in your head, ironing out the kinks, and doing research. Basically, if you're not banging on the keys, you should be spending time with your characters and plot. Get to know them. If you figure out what makes your characters tick, you'll have an easier time creating words that help your readers connect.

Even though I'm not participating in NaNo this year, I'm still writing (as we all are). I still have a deadline I have to meet. So, I'm using the quiet time around the web (because it's rather dead out there this time of year) to do just that.

Yesterday, I took a much needed break to have coffee with other authors, and I ended up working out some of the issues I was having in my MS by talking out my thoughts. It was a 3k word day after that.

Why is thinking about writing important? Because it helps you solidify where your story is going and how your characters are going to get there. This makes anything easier to write.

What's been your biggest NaNoWriMo challenge this year?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Asking for a Like

Happy Friday, everyone! Today, I'm asking you all for a HUGE favor :)

Would you please go here and like the comment with my page listed. Don't comment, please; just click like. :)

And, this isn't necessary, but would be appreciated by all the bloggers taking part, would you head on over and give a few likes to the participating blogs' facebook pages as well? As authors, we all need book bloggers in our lives. Can't hurt to connect with them, right? Here are the links:

1. A One-Click Addict's Book Blog
http://on.fb.me/1OV8baz

2. Ab Fab Book Blog
http://on.fb.me/1PJVeRF

3. Amazeballs Book Addicts
http://on.fb.me/1kxrxYh

4. Artsy Book Lovin Sisters
http://on.fb.me/1PJVsZ6

5. Bad Boy Book Addicts
http://on.fb.me/1PJVy2V

6. bloggin with m.brennan
http://on.fb.me/1jX9gmz

7. Book Crazy Friends
http://on.fb.me/1Xng2AP

8. Book Fancy
http://on.fb.me/1hYpXwB

9. Book Lovers Hangout
http://bit.ly/1NWSnFO

10. book review virginia lee
http://on.fb.me/1MW3367

11. Bookhooked
http://on.fb.me/1Gl1q0L

12. Books and Bindings
http://on.fb.me/1GXJGTF

13. Books and Warpaint
http://on.fb.me/1Lqx3Vn

14. BookSkater
http://on.fb.me/1Lqx6k2

15. Cupcakes and Vodka Book Blog
http://on.fb.me/1RZS8YW

16. Fictional Rendezvous Book Blog
http://on.fb.me/1PJWe8o

17. Harlie's Books
http://on.fb.me/1Ksa1tl

18. Hellmouth's Bookblog & Reviews
http://on.fb.me/1QYMGVx

19. Here is what I read
http://on.fb.me/1hYr6o0

20. Jazzy Book Reviews
http://on.fb.me/1hYra7h

21. Jazzy World of E's Bookshelf
http://on.fb.me/1LJb35V

22. Love Danielle's Escape
http://on.fb.me/1OV8HVY

23. Loves 2 Read Romance
http://on.fb.me/1NWSTU9

24. Marebare's Book Shelf
http://on.fb.me/1PEosSX

25. My Book Filled Life
http://on.fb.me/1LQ6WIM

26. My Book Obsession
http://on.fb.me/1QYNj1m

27. My Girlfriends Couch
http://on.fb.me/1GtTs53

28. Obsessive Compulsive Divalicious Books Pimps and Promos Blog
http://on.fb.me/1W7rQoa

29. Sassy Book Lovers
http://on.fb.me/1kxu84j

30. She's a Lip Biter
http://on.fb.me/1MHiWsH

31. Sinfully Hot Book Promotions
http://on.fb.me/1jxqeYm

32. Stormy Nights Reviewing & Bloggin'
http://on.fb.me/1GXKDLS

33. Sweet N Sassy Book A Holics
http://on.fb.me/1KsaP16

34. The Book Disciple
http://on.fb.me/1NWTaX5

35. The Book Fairy Reviews
http://on.fb.me/1LQ7s9K

36. This Mom Loves Alphas
http://on.fb.me/1kxuJ65

37. Twisted Sister's Book Reviews
http://on.fb.me/1XnhwLq

38. Under The Cover Book Lovers
http://on.fb.me/1GtTMkb

Not a lot. Just needing a favor :)

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Set Your Story!

Happy Monday, everyone! Hope you all had a fabulous weekend and are ready to start the awesome week ahead. No? Well, grab that coffee and let's talk about setting. You know, that place in your story where your characters dwell.

There are two ways to go about giving setting:
1. The old way of bogging people down with pages and pages of "what the character sees."
2. The more interesting way of putting the character IN the setting and letting the reader know how it feels.

We're, obviously, focusing on the second way.

Why? Because it's more interesting to read and keeps folks from paging through your book really fast.

So, what's the difference? If you aren't sure, I ask you to recall a book you read in some time and space where your eyes glazed over as the author described the trees, flowers, and sun.

Now do you know what I mean?

Let's get the hell on with examples, shall we?

Example of style 1:
     Juniper sat on the stone bench and stared at the water after her breakup with Harold. Red roses bloomed in abundance, their thorny stems intertwining. Next to them were pansies in every color of the rainbow. On the water floated boats with giant, white sails billowing in the wind. Across the water stood the poor houses. She used to live there. People were standing outside or sitting in chairs, doing nothing. A couple of children were playing in the many puddles on the street. Broken down cars with weeds growing out of them were scattered here and there.

And so on, and so forth.

Now, let's give style 2 a try:
     Juniper sat on the bench, the cold of the stone seeping through her shorts as she stared at the water, wishing it would bring calm with its lapping sounds. Red roses bloomed near the shoreline in abundance, their thorny stems intertwining like lovers in a secret embrace. She couldn't help but think how, just hours before, she was in a similar embrace. While the roses would be strong, her love was broken.
     Why did it have to be that way?
     Through the ship sails, she could just make out the poor houses on the other side of the river where her family lived. Once upon a time, she was one of the dirty children playing in the puddles and around the abandoned cars--those weeds growing out the windows and doors gave her hay fever more times than she cared to mention. But she'd gotten out of there.
     What about that didn't Harold understand?

This isn't a vice I suggest you use often. Page after page of anything like that will get old. However, if you're in a key scene, you should get your reader invested in the story by pulling out all the feels.

In the first example, you're looking at the scenery as an outsider; in the second, you're feeling how it might impact someone.

There's the key to engaging the reader in a show, don't tell, situation. Again, telling is for the parts where not a lot is happening and you don't want the reader to slow down and pay attention. More on showing vs. telling in this post.

Care to give it a try? Revamp a scene and share with us!

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Dialogue Pitfalls and How to Fix Them

Happy Thursday, everyone! Oh my, tomorrow is FRIDAYYYY! Who's excited? I can't believe it was just a four day workweek. I'm exhausted already. Ha! Today, I'm taking you all through an exercise to help with your dialogue. I'll start by outlining a few pitfalls, then explain how to correct in your first edit. Ready? Grab those pens and notebooks and let's get going!

We'll start with labels to keep it easy.

#1: Group Conversations

A common issue in creating group dialogue is when the author wants everyone to speak at once. Now, this can work if done properly, but line after line of Bob said, Marley said, Jane said, and Duke said gets tiresome.

Here's a tip:
Seek out scenes where folks are talking and examine them. If you have to, put people in a room and assign them all part of your dialogue. Have them read their lines (in character). Make notes of their facial expressions, movements, and tone. Work it in.

Example #1:

"I didn't think I had anything to be worried about," Bob said.
"Seriously? What didn't you see there?" Marley said.
"Right? I could've picked up on the subtle clues if I were blind," Jane said.
"Bob, your wife hasn't touched you in months. Wasn't that clue number one?" Duke said.
"But it's always been like that," Bob said. "Ever since we were first married."
"Really?" Jane said.
"Yes, really," Bob said.
"Well, why did you stay married ten years then?" Marley said.

Fix #1:

Mouth turned down, hand clutching a tumbler of bourbon on the rocks, Bob shrugged. "I didn't think I had anything to be worried about." Added action tag.
"Seriously? What didn't you see there?" Marley asked. Changed said to asked.
Jane snorted and curled her lip. "Right? I could've picked up on the subtle clues if I were blind." Another action tag.
"Your wife hasn't touched you in months. Wasn't that clue number one?" Duke asked. Changed said to asked.
Bob sighed and leaned back in the chair, studying his friends. They were all coiled and tensed up, like a snake ready to strike. There was no way they'd understand, but he figured he'd try. "But it's always been like that. Ever since we were first married." Applied exposition and action.
"Really?" Jane's head snapped up. Changed to action tag.
"Yes, really." We know it's Bob. Deleted dialogue tag.
Marley asked. "Well, why did you stay married ten years then?" Moved dialogue tag to front.

If you add a little action and thought in with the dialogue, you show the reader more about the situation, and you avoid overusing said.

#2 Invisible Dialogue Tags

It's a common misconception to believe you have to change up the dialogue tags every time. While "said" gets tiring to read, you've seen one way to avoid having to use it on every line. But what about invisible dialogue tags? How many are there? Why should you use them?

Here's a tip:
Seek out those scenes where you're using something other than said to denote dialogue. Ask yourself why. Is it an action tag? That's a good thing unless it's pulling the reader out of the story. There are a handful of invisible tags you can use; just make sure they're relevant to the tone/situation.

Invisible dialogue tags are words readers don't have to process as they move through the story. They exist to avoid confusion only. They speed up the flow of your story (pacing).

Example #2:

• Asked
• Said
• Answered
• Responded
• Whispered
• Shouted
• Yelled
• Screamed

A common error is to use an action tag as if it were a dialogue tag. More on these here. Unless the word is denoting speech of some kind, it's an action tag. List:

• Ordered
• Commanded
• Howled
• Growled
• Slurred
• Hissed
• And so on.

Use invisible tags whenever possible, but you don't need one every line. Hang on, that's next!

#3: Mixing Action Tags and Dialogue Tags

If you have a person doing something, you don't need a dialogue tag to tell the reader who it is that's speaking.

Here's a tip:
Find those places where you have action and dialogue together, and remove the dialogue tags.

Example #3:

Bob shrugged and panned his eyes over the faded wallpaper. He said, "I never thought Martha was the kind to do something like that."
"She's hitting the prime of her life, Bob. She's also a good looking woman," Jane said.
He slammed the glass on the coffee table, sloshing bourbon over the antique wood. "I know she's good looking. Hell, I'm the one who married her!" He yelled.
"All women go through a phase," Jane said as she shrunk back in the couch.
"Phase! Phase?" Bob screamed. "This is so much more than a phase!"
Jane nodded and said, "I understand."

Fix #3:

Bob shrugged and panned his eyes over the faded wallpaper.  "I never thought Martha was the kind to do something like that." Removed He said.
"She's hitting the prime of her life, Bob. She's also a good looking woman," Jane said. Left alone.
He slammed the glass on the coffee table, sloshing bourbon over the antique wood. "I know she's good looking. Hell, I'm the one who married her!" Removed He yelled.
"All women go through a phase." Jane shrunk back in the couch. Removed said as she.
"Phase! Phase? This is so much more than a phase!" Removed Bob screamed.
Jane nodded. "I understand." Removed and said.

Again, if you know who it is that's speaking, there's no need for a tag. But removing all those tags cleaned up the prose.

#4: Using a Dialogue or Action Tag on Every Line

You don't have to go bananas with action and dialogue tags. When two people are having a conversation, you can delete most of the tags and still be okay.

Here's a tip:
Find places where there are just two folks talking. See how much you can remove without getting confusing.

Example #4:

"My wife has drained my bank accounts, done things behind my back, and she wants to know why I'm upset." Bob dragged his free hand down his face and slurped his drink.
Marley sat forward. "She probably hit her mid-life crisis and didn't want to worry you. You're aware of how she treats her body. It was bound to happen."
Bob snorted. "Yeah, I just didn't think she'd do something this crazy at thirty-one."
"It's that milestone, brother. Hang in there. At least she's not cheating on you," Marley said, putting a hand on Bob's back.
He sighed. "You're right. I guess I should be grateful she wants to look good for me. What's a little face-lift in the grand scheme of things, right?" A choked laugh escaped. "But she lied. Plain and simple. Who knows, she might be cheating, too."
"I doubt that. She loves you." Marley leaned back.
"She loves my money," Bob said.

Fix #4:

"My wife has drained my bank accounts, done things behind my back, and she wants to know why I'm upset." Bob dragged his free hand down his face and slurped his drink. Left alone.
Marley said, "She probably hit her mid-life crisis and didn't want to worry you. You're aware of how she treats her body. It was bound to happen." Changed action tag to dialogue tag.
"Yeah, I just didn't think she'd do something this crazy at thirty-one." Removed all tags.
"It's that milestone, brother. Hang in there. At least she's not cheating on you." Marley put a hand on Bob's back. Removed dialogue tag.
"You're right. I guess I should be grateful she wants to look good for me. What's a little face-lift in the grand scheme of things, right?" A choked laugh escaped. "But she lied. Plain and simple. Who knows, she might be cheating, too." Removed action tag.
"I doubt that. She loves you." Removed action tag.
"She loves my money." Removed dialogue tag.

And, you still know who it is that's speaking! Amazing, right?

These are some of the most common dialogue errors I come across. If you do your homework, you'll come out the other side a better writer. For another trap post, check out this one.

I hope this helps in some small way.

What are the things that annoy you most in dialogue? Discuss!

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

777 Writer's Game

Happy Wednesday, everyone! Today, I'm playing a game because I was tagged by my friend, and co-conspirator, Kelly Risser, in this post on her blog. She's asking me to post seven lines from a page ending in the number seven from my work in progress. I'm also supposed to tag seven other authors. Well, this couldn't be more perfect if we'd planned it. Why? Because our work in progress is titled "7." Fitting, don't you think?

So, here are seven lines from page seven:

It wasn’t long before he was chuckling along with her. Once their mirth died away, he asked the question that had been on his mind since Elizabeth mentioned it. “Might I ask what became of the thieves caught in my workshop?”

She smiled. It wasn’t warm, and her eyes were two pieces of rock in her face. “I had them hanged. No one steals in my kingdom and is allowed to keep their life.” 

And, as a little teaser, here's the character talking with Queen Elizabeth:

His name is Sir Thomas Russell. Because we haven't revealed the cover! It's coming, so keep your eyes open. I know, I know, we're the worst kind of evil. You'll be seeing this gentleman again soon, too. *grin*

Be sure and read Kelly's post, then come on back here, and tell me what you think we're doing this time around.

Oh, and the swag! Let me tell you, it's special and, like the book, it's unlike anything you've seen before. As a bonus, anyone can get one!

I'm going to tag: +BJ Sheldon , +Amy Evans ,  +Christina Marie Mitchell , +Christina Mercer , +Heather Topham Wood , +L. K. Evans , and +Kelly Martin . Enjoy the fun, ladies!

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Novel Research - How Much is Too Much?

Happy Monday, good people of the blogosphere! Welcome to another week of fun. Yeah, it's Monday, but you now have five whole days to get in your writing groove. Today, I'm talking about research. You know, that stuff that makes your book seem plausible to your reader. Ready? Grab those pens and notebooks and let's get going!

As you all are probably aware, when I was writing M, I had to do a lot of research for a few topics and scenes included in the novel. Here are a few:

Buying explosives online (yes, you can!).
What the range on a GPS tracker is.
Best sniper rifle.
What genes are responsible for reproduction.
What genes/chromosome strands are associated with malformations of the heart.
How to pick a lock (actually picked a lock to learn what this was like).
Self-contained cities (how they work).
Moving sidewalks and how one steps onto them.
What genes are responsible for "giantism."

And those are just a few. I've asked other sci-fi writers, and they have pretty much the same experience. You have to learn as much as possible so your story can ring true. Sure, you can ask an expert or read an article about how to pick a lock, but until you do it, you don't know what pitfalls may happen or how it feels.

I've talked about this before on my post Writing What You Don't Know, but sometimes you need to get into the meat of your story by heading out and experiencing things for yourself.

Don't leave your words to someone else. The way I describe something might not be the way you describe that same thing.

As a bonus, the next time you want to write about what it feels like to walk over hot coals, you'll already know. Those little tidbits will be stored in your memory bank or feelings workbook.

It's not just sci-fi that demands research. If you're planning a book where you deal with legal issues or historical facts, you have to look that up, too. Writers are born researchers, and we usually have a thirst for first-hand knowledge of topics.

What's been the most fun/interesting thing you've ever had to research for a book? What book was it?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Atmosphere Feels - Helping Readers Feel the Characters and Setting

Happy Friday, everyone! Holy cow, what a week, huh? It's been blazing trails here on my desk. Huge edit, schedules for bloggers, handling the radio show, and blogging every day have me so confuddled, I'm not sure whether to scratch my watch or wind my butt. But! Today, I'm all about the writing tip! I had a discussion with Teal Haviland, creator of the awesome website My Endless Endings (it's like a smashup of Facebook and Goodreads), and she suggested a post on atmosphere and feels. So, we'll be talking atmosphere and all the feels your character can get from their surroundings (and how to communicate that to the reader). Grab those pens and notebooks and let's get going!

So, your character is on their journey, and they walk into a room. Let's do this via examples. My character will be named Teal, and she's going to her grandmother's house.

     Teal stepped into the room and plopped down on a sofa, putting her feet on the coffee table. A teapot was sitting nearby, and she snagged a cup, filling it with the hot liquid. She took a sip, and relaxed as she waited for her grandmother to come downstairs.
     After waiting for half an hour, Teal wondered what was taking Grandma so long. Something felt off. She usually made an appearance within five minutes or so, and Teal was getting worried. Carefully, she put down the cup, rose to her feet, and walked back to the foyer to look up the stairs.

Okay, there's Teal in her environment. You all know I'm not one of those writers that goes into a ton of description. However, there's a time and a place for everything. You need tension in this scene, so description and engagement of the five senses will help. Remember this post. Yeah, only this time we're talking about how the environment impacts the character's feels. If you have your Feelings Workbook, pull it out now. Let's edit!

     Teal stepped over the threshold to a dimly lit foyer. Shivers ran down her spine when she inhaled and the musky scent of the house assaulted her. Moving to the living room, she sat on the flower-print couch, wondering where the plastic cover went, and put her feet on the antique coffee table. A silver tray with a porcelain teapot and cups was nearby, and she tossed a sugar cube in one of the cups before pouring over the liquid. She took a sip, wrinkling her nose at the bitterness of the drink, being careful not to burn her tongue, and sat back as her eyes scanned the room and she waited for her grandmother to come downstairs.
     Time ticked by, increasing the unease Teal felt when she entered. Where was Grandma? She always arrived within five minutes to spread the latest gossip from the other blue-haired ladies in the neighborhood.
     Teal's shoes clicked on the floor when she put her feet down. In the absolute still, it was like a gunshot. She winced, carefully put down the cup, and removed her shoes. Holding the slingbacks by their straps, she rose and tip-toed back to the foyer. Her heart pounded in her chest and echoed in her ears.
     One of the floorboards in the ancient wood creaked, and she paused, ticking back her ears. Dread slammed into her, and she let her gaze float up the stairs, tracking the fresh boot prints on the beige carpet.

In the first passage, you understand something's not quite right at Grandma's house. In the second, you feel like it's something sinister. Smell, sight, sounds, touch, and taste are all engaged.

Why? What's the difference?

In the first passage, there's little to no description of the environment or how it's impacting the character. If the surroundings don't have a feeling, your reader won't feel. Sure, you can tell them, but they want to feel it, too. You have to show in this case. If you noticed, from the content of passage two, we're now aware plastic is missing, the lights are dim, the tea is hot, it's too quiet in the house, and there are fresh boot prints on the carpet.

What do you think Teal will find based on the first passage? How about the second?

What do you feel when you read each one?

We can bring a lot out by describing the atmosphere of the character's environment, and it'll translate to the reader. I do ask that you use this tactic sparingly. Pages and pages of description will bog your reader (and your story) down.

Now you try it. Start with a passive scene, and make it an active scene.

Let's see your results. Don't be scared to share!

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Your Opening Scene

Happy Thursday, everyone! Hang in there, Friday is just around the corner. Today, I'm talking about your opening scene. There are certain obligations you, the writer, have in those first few pages, and I'll go over the most imperative four. Ready? Grab those pens and notebooks and let's get going!

When you're browsing a bookstore, do you just read the blurb on the back of the book, or do you open the cover and read a couple of paragraphs to see if you might like what's inside?

I'm betting you do a little of both. Well, the people who plan to read your novel will likely do the same thing. Why not hook them with a little bit of oomph? There are a couple of things people don't even know they're looking for, but if those things are missing, their reader brains will shut off and your book will be stuck back on the shelf or dropped back on the table.

Some of these, I bet you even do on accident. Besides the tips on using powerful words, from a post I wrote on the first one hundred, you have to set certain things up. If you missed the post before this one, I recommend checking it out, too.

1. You have to hook the reader into the story. This goes back to that post on the first one hundred words. These words should be powerful and resonate deeply in the soul. Perhaps even introduce the central conflict or present a question that will be answered later. Either way, you want them to keep reading.
2. Consistency is the ruler of all else. Your beginning should set the tone and establish rules you'll adhere to later on in the story. Don't have the reader walk into a suspense thriller only to throw them into fairy land a page later (unless it's a fantasy thriller with killer sprites that slash people to death with razor wings). You get the point here. Also, don't use a hook that has nothing to do with the rest of the novel. Readers will feel, rightly so, they've been hoodwinked.
3. Give the central conflict. Your reader wants to know why they should keep reading. If Jane is going to plod through the book with no direction or goal, it probably won't be something many (any?) people would enjoy spending time on. There's room for some action. If you're using a prologue, this is where you can show the blood, guts, and gore (if that's what your book is all about) just before the bad guy escapes and leaves a path of death in his wake. Yes!
4. Hint at the ending. Have you ever been stuck at the end of a story that's flown from your fingers up until that point? It might be time to start reading your manuscript from the beginning. If you've crafted it well, you'll have an idea of where it's going by examining where it began. Readers like that, too! When they have a vague idea of what might happen, they're intrigued enough to buy the book to find out. Think "central conflict" as mentioned above.

Don't backstory dump on your reader! Please. Readers aren't stupid. In fact, many of them are highly educated and well read. They know how to infer things from the text. You don't have to spoonfeed them every single detail. Especially in the first chapter. Trust that your audience is intelligent, and your writing will take on a whole new level of awesome.

Did you know any of these? What's your favorite hundred opening words of all time?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Being Emo - Emotional Triggers for Creating Rich Characters

Happy Tuesday! As the title of the post implies, today I'll be talking about emotional triggers you can (and should) use for your characters. As a writer, you're a student of human nature. Let's put those studies to use in your writing so people can identify with your MC. Ready? Grab those pens and notebooks and let's get going!

I often wonder why writers of an older generation have books that scream at readers with such truthiness. Now, I'm not saying younger folks can't write deep novels (because they can, and do), but those little sparks of talent are rare and have likely been cultivated. Many people tend to take up writing when they're in their late twenties or early thirties.

Why?

Because they've lived it. They have a greater well of life stuff to draw precious words and experiences from. Don't you love sitting and talking with older people? Listening to their stories is like reading a really great book that answers questions you want to ask. A teenager who's lived a normal life (no abuse or bullying or anything like that--you get my point) will find this more difficult.

So why am I bringing all this up?

Today is about emotional triggers. Older folk have more of these to draw on simply because they've been in the world longer and experienced more. Reading about something and feeling/living it are two different things. No matter how engrossed in a book you are, you never really know everything that was going on around the character or in their past. That novel would be like War and Peace. When you live it, you can draw on it more readily.

Don't get me wrong, I'm not saying only older people can do this exercise; I'm saying their lists will be longer--and probably easier--and that's okay. I just don't want you to be daunted or frustrated if you have nothing for a particular item. This could open up an opportunity for you to talk to someone else and listen to what they have to say about the emotion.

Exploring your character in depth like this can lead to a more rounded individual on the page. Heck, this may help a younger generation of writers hit that ever-elusive personified character we all strive for. Either way, it'll help you get to know your MC.

There will probably be more than one answer for each of these, but try to think of just one the first time through.

Here's the list:

• Shame - When did the character feel shame? Why? How has it shaped them?
• Joy - Yup, that moment when they felt they could fly without wings. What happened afterward?
• Fear - This is a big one because it fuels a lot of the ways we perceive ourselves. Insecurities can arise from fear. What change did it cause in your character?
• Guilt - Another big one. Carrying around guilt can cause your character to react a certain way in a specific situation. How heavy is the burden? Will they ever admit it?
• Love - When did they feel it the first time? How did it shape their perception?
• Failure - Will your character give up after a huge let down? What was it and how did they push through?
• Courage - What were they facing when they showed courage? Did they succeed or fail? How did that shape them?
• Forgiveness - There's always that one screwup. Who was the forgiver? Did it make the character stop and think about holding a grudge with someone else later on?
• Rage - How did they internalize it? Did they? What were the repercussions if they acted out?
• Indignation - Someone pushing the character to do something they refuse to do? What prompted it? Why didn't the character take part? Moral code?
• Sorrow - Profoundly. Stemming from death of a loved one. How did they deal with it?

I know that's a long list, but it'll give you some fodder to draw on as you write your story. You don't have to reveal all of them (remember that comment above about a book being different from a life?), but you'll have a better grasp of who your character truly is if you give them all the emotional baggage.

Have you ever done an exercise like this? How did you fare with this one?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Men vs Women - Author's Voice

Happy Thursday, and welcome to another writing tips post, everyone! Today, we're talking about your author voice and how it translates to the reader vs how you want it to translate. Ready? Grab those pens and notebooks and let's get going!

How about a slice of truth to start us off?

If you're a female, chances are very good that, no matter how hard you try, you'll sound like a female when you write (even if from a male POV). Same goes for you males.

While there are authors who've managed to pull off writing as the opposite sex, I'm positive their editor made a huge difference. If that editor was male and the voice in the book was male, he likely told the author that a man/boy would never think/say/do "this." Likewise for the male writing as a female, using a female editor.

So how can we, as writers, fix it?

Let's go into the male writing as a female first:

Women are emotionally driven creatures. We cry, we care, and we talk about our personal lives a lot. When we talk, we generally use softer words like "would you mind" and "what do you think about this." We're often unsure about what we say or how it will come off to other people (we care about what you hear), and we don't like to hurt feelings or be crass.

Our thought process leans toward our families or responsibilities when we're in peril, and most of us aren't as highly competitive as men. To get us interested, you have to put out a ton of feeling and market to our gentle, helpful, feminine side. We also love to be empowered.

Now, women writing as men:

Men are action and solution driven creatures. If there's no clear goal, and the character isn't fighting toward something they can achieve against all odds, men won't identify. They use clear, demanding speech, that tends to lean toward sarcasm and "taboo" topics. They don't talk about personal things, and they generally prefer confrontation to descriptive floweriness.

Their thought process leans toward the thrill of the moment, and most of them desire to win. To get them interested, you have to market to their competitive, thrill-seeking side.

How do you get to know a woman's thought process? Spend time talking with them, asking questions, and paying attention to how they interact with their peers. Same goes for how to get into a man's head. You have to really immerse yourself in the gender if you want to be believable.

Go now and take a look at ads geared toward women, and then look at some geared toward men. See any difference? That's what connecting with a gender is all about. Books work the exact same way.

If you're a non-fiction writer, you may need to create two separate books; one that uses language women want, and one that appeals to men.

Male readers consume only 20% of the literary fiction read today. Know what that means? Right! Women are left with a whopping 80% of the pie.

Wow.

So what do the other 80% of men read? Sci-Fi, History, and Political. Certainly food for thought.

Have you stepped into the shoes of the opposite gender? How did it work out for you?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Avoiding the Backstory Infodump by Using Layers

Happy Tuesday, good people of the blogosphere! Today, we're talking about backstory. Every character has one, but no one wants it shoved in their face in huge chunks. I'll be giving you some ways to work the yummy goodness in as your story progresses so you can avoid the dreaded infodump. Ready? Grab those pens and notebooks and let's get going!

#1: Throw out tidbits in dialogue

This one can be fun. Say you have two characters arguing. One friend screams at the main character about an embarrassing or revealing thing that happened in the past that shaped the MC's personality. Boom. Backstory. One character can also be talking to another and reveal something about the MC's past to explain why he/she reacted the way they did in a situation. There's no need for a whole conversation about it; just throw things in here or there.

#2: First person thoughts

I have an excellent example of this one! In Fractured Glass Kelly Risser lets Sloan remember a time when she and Diego rode an amusement park ride and he yakked afterward. This reveal came when he groaned through her earpiece after she flipped around and around, and she needed to recall his motion sickness issue. It flowed right into the story, but gave the reader a better understanding of Diego.

#3: Memories

This one can be a bit tricky. Some people go into memories as a whole separate scene, but they don't have to be set apart. You can add a snatch of them here and there like sprinkles, rather than dredging the entire cupcake and leaving the reader with a mouth full of pasty yuck. When the character sees a rose, he/she can have three lines of memory that recalls the funeral of a good friend. Don't get bogged down in details.

#4: Third person narrative

While it isn't the best way to work in a lot of drama, you can have the narrator recall a situation where the MC changed or did something amazing/horrid. "This one time, at band camp, Harry and Joe..." You get my point.

#5: Long flashbacks or dreams

This is where you cut out a chunk of story and lend it to the character's drama. It becomes a whole separate scene in the chapter where you go into feelings, who, what, when, and where. Long flashbacks should be used sparingly (italics are hard on the eyes). If in a dream sequence, try offsetting it with asterisks rather than setting in italics. Be sure you're setting time and space in there somewhere so you don't lose the reader.

#6: Paperwork

Exactly what it says. Maybe the character finds an old newspaper article stuffed in a photo album that was locked in a trunk in the attic for fifty years. Perhaps it's birth certificates. If you're V. C. Andrews, it would most certainly be the latter, and the document revealing Mom and Dad as brother and sister won't be discovered by the child until the last page of the last book. Yikes.

Something important to remember: Don't use these items until your story has been well established. Readers need some mystery as they dive into the prose, and most don't want to be dumped on early in the novel. When there's nothing left to discover, why keep reading?

I hope you found these tips useful.

Any you hadn't thought of?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

13 Rules for Stronger Writing

Happy Friday, everyone! Wow, it's the weekend already. I feel like I've missed out on a couple of days in here somehow. Anywho, today is all about making your writing stronger. I have thirteen tips that'll help you keep your writing flowing. Ready? Awesome. Grab those pens and notebooks and let's get going!

No dallying today. Right into it. When examples are given, what you shouldn't do will be in red, what you should do will be in green.

1. Use active voice. Don't use were. Reconstruct your sentences to read as it is. Example: There were fifteen girls standing on the field. Fifteen girls stand on the field.
2. Kill the truth. If reality is blocking, make up new rules. You're writing fiction, after all.
3. Unite common phrases. Things that go together, stay together. Example: Molly lifted her arm and then, with a roar like a lion, she began beating the door. Molly lifted her arm, roared like a lion, and beat the door.
4. Write as you see. When you're writing, think visually about the scene, and use the imagery as fodder.
5. Catch the beat. All writing has a rhythm. You know it. Use it.
6. IT is a horror story. Beware of dangling "it" in your prose. Example: I thought it was strange. I thought the chair scooting across the floor by itself was strange.
7. Sentence structure variation. Don't write the same sentence over and over. Example: I walked into the kitchen. I got a glass from the cabinet. I filled the glass with water, and I drank. I drank it in one gulp. I walked into the kitchen, grabbed a glass, and filled it with water. As thirsty as I was, it went down in one gulp.
8. Marry related words. Keep things together that go together. Example: Henry stared at the float in the pool that was spinning in the middle. Henry stared at the float spinning in the middle of the pool.
9. Allow the reader to infer. Don't over explain. Example: "I'll do anything I can to help," Tina said lovingly. "I'll do anything I can to help," Tina said.
10. Create parallels. Mix some ideas and compare two unrelated things.
11. Kill repetition. Don't use the same word more than once in a paragraph; your reader will feel like they're reading the same sentence again and again.
12. Use one instead of two. If you can delete a word and not lose meaning, do so. Example: A scary, creepy spider is crawling up my leg. A creepy spider is crawling up my leg.
13. Beef up with stronger verbs and concrete nouns. Use these to replace adverbs and adjectives.

I hope you got some good tips today. Any of these that you didn't know?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Author Central and You

Hello, and happy Thursday, good people of the blogosphere! Today, we're going to be talking about Amazon's Author Central, and how you can make the most of your profile there. If you're ready, grab a pen and notebook, and let's get going!

Everyone knows Amazon is the big pie in the sky every author wants to stand on top of, wiggle their feet into the a la mode, and be covered in the gooey goodness. Why? Because that's the pinnacle of awesome. Readers are reading your books, you're enriching lives with your words, and (hopefully) you're providing hours of entertainment and deep thought. But you have to be seen in order for people to find your work, right?

One of the tools you should be using to accomplish visibility is Author Central. It's not difficult to set up a profile there, and there are some cool features you may not know about available to you. Let's start by setting up an account if you don't already have one.

Go here to the Author Central login page. I'm going to pretend to create a dummy account for the purpose of this tutorial, so you can see what steps to take. Okay, you should be at a screen that looks like this:

If you have an account, log in. If not, click join now.

Now you'll be on a screen like this:

That's where you sign in with your current Amazon customer account (even if you don't have an Author Central page). Like I said, I'm pretending to create a dummy account, so I'll go to "I'm a new customer."

Enter your e-mail address and click continue. You'll go here:

Fill it out and proceed. This is where I back up and login to my own account so I can show you all the goodies there.

Here's your welcome page:

If you just signed up, you won't have any information here. You'll need to fill out your profile and upload an author photo. Click Author Page at the top, and you'll end up here:

You know what to do. Now, click on the books tab, and you'll go to a page that looks like this (yours may or may not have books on it yet):

How do you add books? By clicking this button:

And searching for your title in this box:

I did a search for Fractured Glass. As you can see, it says already added. Yours won't say that, so click the button "This is my book."

It takes Amazon about 24 hours to link your book with your profile. But, once they do, your page will look like mine above and be ready for editing. Because I'm using Fractured Glass as an example, I'll navigate to that book's edit page by clicking on the title:

As you can see, the wide array of choices is staggering. You can also see, by looking in the top right corner, I'm editing the Kindle version of the book (not the paperback).

This is important to know, because you have the freedom to edit each edition's sections separately. I'm going to add an award to the Kindle edition's page, because I'm a dork and only put it on the paperback. So, I click edit on the product description:

And I paste in what I copied from the paperback edition description in this popup:

Then, I click preview:

Of course, I have to remember to click Save Changes if it looks good:

Amazon gives me a pat on the head and tells me it'll take 3-5 days for my changes to show up (most of the time it's just 24 hours or so, but err on the side of caution).

There are six sections available to edit here:

• Review (this is for editorial reviews, because Amazon doesn't allow those guys to publish reviews)
• Product Description
• From the Author
• From the Inside Flap
• From the Back Cover
• About the Author

Go tinker with them all! It's fun!

Because this post is getting really long, I'll go into some of the fun things available to play with on your profile page tomorrow. Hopefully, you'll have it all filled out and ready to rock!

What do you think? Did you sign up? Already had? Learn something new?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Cook Your Novel Low and Slow

Happy Tuesday, good people of the blogosphere! If you remember my post from yesterday, where I gave you some tips and tricks on how to speed up the pace of your novel, you'll know what's coming today. If you missed that one, be sure and check it out here. We're talking about how to slow down the pace today. So, grab those pens and notebooks and let's get going!

Sometimes, a novel needs to slow down a bit to let the reader catch their breath. Unless you're Dean Koontz, or your idea is similar to Intensity, where the reader is on the edge of their seat the whole time. Ha! Readers need a break in the action or they get overwhelmed.

Here's how you can slow things up a bit:

• Have your character make a mistake. Success constantly moves a story forward, and it increases the pace. If you want to slow down a bit, introduce a misstep they have to reverse and correct before proceeding.

• Distract the character. This move can also distract the reader, so use with care. You can engage the reader's emotions rather than starting a mundane task though. Maybe John and Marsha are arguing, and the intensity of the scene is up there. She's getting ready to go on a date with him, so she stops yelling and turns to apply her makeup (which is difficult with the tears in her eyes). You get the point.

• Change the structure. Longer sentences take more time to read and digest. Be wordy, use description, and use words like flugelbinder (kidding - that's not a word). On a serious note, pay attention to the length of paragraphs or placement of soft sounding words.

• Insert inner-monologue or memories. These are an excellent device to halt the flow of the story by bringing the reader back in time or into the character's head. It stilts flow, and that's good when trying to slow things down.

• Insert action scene followup. Your character just committed his or her first murder. Give them a moment to reflect on what they've done and think about the consequences. Not all action scenes need this, but use it when you need to cook something to a tender state.

• Use more description. I'm terrible at this (just ask my editor), but it has it's place in a novel. Sometimes, talking about the scenery or what the little dog's fur color pattern looks like is just what a scene needs to add a little molasses.

I hope you found these tips helpful. Are there any I missed?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo

Pick Up the Pace

Happy Monday, everyone! Today, we're talking about ways to increase the pace in your novel. I assume you've used the tools in my previous post on measuring pace and scene writing, so now I'm going to give you ways to speed it all up. Tomorrow, I'll tell you how to slow things down. Grab those pens and notebooks and let's get going!

You hear folks talk about how a novel dragged on and on, right? To keep your readers interested, you have to have the right combo of a fast pace and a let's-look-at-each-and-every-flower-and-tree pace. Those novels that dragged had more of the second kind. *grin*

Let's fix that.

• Word usage. This is the most basic way to increase a novel's pace. Shorter words and sentences make reading and processing easier. Seek out places you can cut a sentence to six words or fewer. Oftentimes, you can remove introductory words: Then, However, Often, etc... Independent clauses can come out if they aren't helping the sentence. MS Word has a checker that will seek out wordy sentences for you. You can highlight the section and tell the program to look at it. Easy peasy.

• Dialogue with few to no action tags. If you refrain from giving description of the characters' movements or expressions during dialogue, it'll help. Stick with invisible tags (tags readers see but don't actually have to process): Said, Asked, Answered. Don't go down the rabbit hole, and keep the back and forth going.

• Action! This is where you can leave off the telling and show. You aren't trying to increase tension, just give the character some kind of goal and get him or her there. If it's a battle scene, you want to do a little telling and describe a few things, but don't go into paragraph after paragraph of description. Action happens quickly, and you, the writer, can just sit back and watch as the beauty unfolds.

• Suspense. Yeah, that's right, keep the reader turning the pages to find out what the heck is going on. You'd think dragging something out would slow things down, but it actually engages the reader's brain and makes them read faster so they can find a solution to their twanging nerves.

• Scene cut/breaks. This is where there's no transition to a new scene. You can end the previous scene on a cliffhanger or not, but your story makes a leap into something totally different. Keep in mind, you can also create a scene cut by cutting out some of the tale where the prose is dragging.

• Summary paragraphs. Your character just spent three months getting to know the people around them? Awesome. Readers will be fine with a summary now and then if nothing significant happens during those three months. Cut the scene and summarize.

You can use some or all of these techniques. Either way, you're guaranteed to pick up the pacing of your story if you follow the suggestions above.

Which one(s) did you know about, and which are new?

Well, that's all for today, folks! Until next time, WRITE ON!

Jo