Tag Archives: Write Practice

Dilemma: 4 Powerful Steps to Make Your Characters Choose

The Spring Writing Contest is coming soon!

If you haven’t heard of them, the Write Practice’s seasonal writing contests are a great opportunity to get published and possibly win fame and (a small) fortune.

Perhaps you’ve entered before, but haven’t found the winner’s circle. Rejection is a familiar badge of honor amongst seasoned writers, but for many of us it can be tiring, and even tempt us to stop entering contests or submitting to publications.

But what if there was one thing you could change about your writing that could almost instantly make it better?

There is! There is a storytelling element that I’ve seen as an entrant and judge of multiple fiction contests that makes stories work and win, standing out above the rest.

And that single, difference-making element is a Powerful Choice.

When We Forget “Choice”

Unfortunately, this element isn’t as simple as it sounds. Characters yelling and screaming and fighting and kissing doesn’t necessarily count as a powerful choice. Sometimes it’s just noise, not a dilemma.

Other times writers fill their 1,500-word submission with lyrical prose and vivid imagery, but nothing happens. There are no dilemmas to be found. And though it always saddens me to do, as a judge I had to move on from such pieces.

Stories contains many elements that may be fun to write or read. But a story cannot possibly work without a powerful choice. It is central to any successful narrative.

In the same way, a house may be more valuable if it comes with marble countertops or vaulted ceilings. But without a solid foundation, the house is worthless, regardless of how aesthetically pleasing it may be.

In Aristotle’s Poetics, he defines dramatic tragedy as “the imitation of an action.” And while the stories you write are not all tragic, they are dramatic, in that they seek to create an impression of life.

In other words, they imitate life.

And when we imitate life, we are imitating the most basic act of life: a choice, or an action.

A story without a choice may be beautiful for its language or description. It may be memorable for any number of reasons.

But it won’t be remembered as a contest winner, because it will fail to do the most important storytelling job: To imitate the action of choice.

How to Imitate an Action

Imitating an action may seem like a simple chore. After all, “action” is a lot of fun to write, isn’t it?

But genuine choices aren’t just about the action or motion that takes place. Often most of the energy is potential — it’s in the build-up to the action.

And that is where you need to focus your storytelling energy, at least at first. Then, once your character has made his or her choice, you need to spend time on the fallout from this choice. Consequences are massively important to a well-told story, and your reader will want to know how a character’s choices play out.

So let’s look at the four steps to a powerful choice that will make your story a winner!

1. Desire & Goal

Before any choice is made, the protagonist must have a Desire.

Without desire, a choice doesn’t have any meaning. It is simply an item on a grocery list. And story desires can never be so trite and hope to win over a reader.

Then, the desire must be formed into a Goal, a stated or thought objective in the protagonist’s mind. If it isn’t clear to the protagonist — and therefore the reader — that this goal is the “Why?” behind everything he/she is doing in the story, then the story will be confusing and the reader will struggle to follow it, even if it makes sense to you.

So despite how “deep” we want our stories to be, two things must be abundantly clear: What the protagonist wants (Desire) and how he/she plans to get it (Goal).

2. Resistance & Conflict

The next step in a powerful choice is Resistance and Conflict, two forces that will make your protagonist’s goal interesting and worth reading about.

After all, if the object of desire (money, a lover, a new job, getting home, etc) is easily attainable, then it will fail to produce a story that your reader simply can’t put down.

So there must be a reason, or reasons, why the protagonist cannot achieve the goal and get what he/she wants right now. And those reasons must seem insurmountable.

The resistance and conflict can come from diverse places, too. The setting can push back. Family and society can dissuade and even forbid the protagonist from advancing. And a villainous antagonist (and his/her minions or servants) can make life hell for our hero along the way.

Without brutal resistance and difficult conflict, the protagonist cannot be faced with a tough dilemma and driven to the point of making a powerful choice. Devoid of this pushback, the choice would be easy, predictable, and obvious. That’s the last thing you want!

So make sure that the resistance and conflict push your protagonist as far as he/she can go without completely breaking.

3. Risky Choice

Finally, the moment must come when the protagonist imitates the greatest action in all of humanity: the Choice with unimaginable consequences!

But it requires lots of set-up. It can’t be done without a relatable and clear Desire/Goal, or a highly antagonistic pairing of Resistance/Conflict.

To make the choice work, the hero can’t simply choose between an obvious “Yes” and equally apparent “No.” Choosing to kill the bad guy versus choosing to run away like a wimp isn’t really a dilemma.

No, choosing to kill the bad guy who is the hero’s brother or not kill the bad guy who will probably retaliate anyway is a high-risk choice. It’s powerful because of the implications.

And it will have your reader turning pages like lightning!

Shawne Coyne’s The Story Grid teaches about two types of crises that produce amazing moments of choice: The Best Bad Crisis, and the Irreconcilable Goods Crisis. The “bad guy is your brother” anecdote is an example of the “Best Bad Choice.”

Risky choices are just that because there’s almost always something to lose. There are few moments in life when everything turns out okay, and there are no negative consequences.

Which is why the fourth and final step is so important.

4. Consequences

Readers want to know “What happens after …” your protagonist’s risky choice. And if they don’t get a satisfactory answer, they’ll leave your story feeling cheated and bitter.

This doesn’t mean you have to give them an ending that rivals Return of the King, but you need to make it clear exactly what the Consequences of the risky choice were.

  • What did he/she gain? At what cost?
  • Did he/she commit any sins or grievous offenses in pursuit of his/her goal? How were these paid for, if at all?
  • And what did he/she gain, and how is it affecting life now, after the story journey?

You don’t have to tie up every single loose end the story may have — especially if you intend to pen a sequel! In fact, leaving one plot strand dangling while all the others are snugly knotted can be a great way to keep readers around, ready for your next release.

Make sure you thoroughly address how the action ends up, though. Because this, too, is a part of the imitation of an action. Every action has a reaction, and readers know it. They’ll be expecting it your story, too.

Time for Action!

Whether you’re planning to enter the Spring Writing Contest or not (though you really should!), I hope that the value of a well-written action will be central to your stories.

Not only is it solid storytelling, but it’s exactly what readers want. And the best part is that this isn’t genre-specific. This is precisely the kind of journey that readers crave, whether they’ve picked up your Cowboy Romance novel or your Sci-Fi Horror short story collection.

So plan your next story with these four steps in mind. It’s time for action!

What’s the toughest choice you’ve ever made your characters make? Let us know in the comments.

By David Safford
Source: thewritepractice.com

Visit us at First Edition Design Publishing

Poetry: Rhythm and Meter

Rhythm is everywhere: we hear it in the hum of vehicles and appliances. We feel it when we walk or run. We see it in the very rising and setting of the sun. Even our hearts beat to a rhythm. Rhythm is built into the way we experience and perceive the world.

Merriam-Webster’s Dictionary offers several definitions for rhythm:

  • an ordered recurrent alternation of strong and weak elements in the flow of sound and silence in speech
  • the aspect of music comprising all the elements (such as accent, meter, and tempo) that relate to forward movement
  • movement, fluctuation, or variation marked by the regular recurrence or natural flow of related elements 

Poetry encapsulates all of these definitions of rhythm. But what about meter? 

The words rhythm and meter are often used interchangeably, but their meanings are slightly different in the context of poetry. Perinne’s Sound and Sense describes this difference clearly and simply: “rhythm is the flow of sound; meter is the patterns in the sounds.”

Scansion

In poetry, meter is determined by accented (stressed) and unaccented (unstressed) syllables. Silence (or pauses) also contributes to a poem’s meter. Scansion is the practice of marking up a poem to reveal its meter. Here is a traditional method of marking up a poem, using Edgar Allan Poe’s “Annabel Lee” as an example:scansion annabel leeThe character that looks like the bottom half of a circle is called a breve. The breve indicates unstressed syllables, and the slash indicates stressed syllables. You won’t find the breve on your keyboard, but it is available in Microsoft Word by using the Insert –> Symbol function.

However, working with breves and slashes on a computer in this manner is tedious and time consuming. Fortunately, there are some other methods available to us.

Some dictionaries include pronunciation guides, which indicate stressed and unstressed syllables. Dictionaries often use quotation marks for stressed syllables and apostrophes for unstressed syllables: PO”e’try’. This isn’t easy on the eyes. Another option, which is much clearer, is to use all caps for stressed syllables and all lowercase letters for unstressed syllables: POetry; and we can add hyphens to further denote each syllable: PO-e-try. Ah, that’s more like it: easy to read and easy to type.

Metrical Units

We now know how to show meter with scansion, but we also need to know how to talk about it. Here is some special terminology that helps us communicate when discussing meter:

A metrical foot is a unit of metrical measurement that includes stressed and unstressed syllables. Here are a few types of metrical feet:

  • Anapest: Two unstressed syllables followed by a stressed syllable (da-da-DA). Example: un-der-STAND.
  • Dactyl: One stressed syllable followed by two unstressed syllables (DA-da-da). Example: PROM-i-nent.
  • Iamb: One unstressed syllable followed by one stressed syllable (da-DA). Example: be-LONG
  • Trochee: One stressed syllable followed by one unstressed syllable (DA-da). Example: O-ver

We also use special terminology to refer to the number of feet in a line of poetry:

  • 1 foot: monometer
  • 2 feet: dimeter
  • 3 feet: trimeter
  • 4 feet: tetrameter
  • 5 feet: pentameter

Let’s return to the first line of “Annabel Lee” and show its metrical feet:

it was MA|ny and MA|ny a YEAR | aGO ||

This line consists of three anapests followed by an iamb, or a combination of anapestic and iambic feet.

But what about the number of feet? How do those factor into the language we use to talk about meter? Let’s look at a line from Shakespeare’s “Sonnet 18” (please note that I have changed the capitalization to accommodate scansion):

shall I | comPARE | thee TO | a SUM | mer’s DAY? ||
Thou ART | more LOVE | ly AND | more TEM | perATE:

Each line consists of five metrical feet, so this poem is written in pentameter. Each line also includes five iambs, one stressed syllable followed by one unstressed syllable. These lines are therefore written in iambic pentameter.

Silence (Rests, Pauses)

In poetry, line breaks, stanza breaks, white space, and punctuation provide cues for pauses. We’ll pause a little longer between stanzas than we will between lines. We’ll hold on a period longer than on a comma. Sometimes breaks and punctuation are part of the aesthetic design of a poem, but their placement will almost always affect a poem’s meter and rhythm, because they instruct the reader to pause.

End-stopped lines contain a complete grammatical phrase (or clause) or terminate with a period, closing parenthesis, colon, or semicolon. Enjambment occurs when a line break occurs in the middle of a complete phrase or clause or when terminal punctuation marks are absent. The first two lines of “Annabel Lee” (above) are enjambed; the first two lines of “Sonnet 18” (above) are end-stopped.

Let’s Get Back to Rhythm

Rhythm is best understood as the flow of sound, whereas meter is a pattern of sound. If we mistakenly equate rhythm and meter, we might assume that free verse poetry lacks rhythm because it doesn’t use metrical patterns. Let’s look at the first stanza of “Spelling” by Margaret Atwood, which is written in free verse:

My daughter plays on the floor
with plastic letters,
red, blue & hard yellow,
learning how to spell,
spelling,
how to make spells.

There’s no discernible pattern in the meter, which is why the poem is called free verse. Yet the poem still has a flow, a rhythm. If the rhythm isn’t coming from the poem’s meter, where is it coming from?

Even though there aren’t repeated patterns, the accented and unaccented syllables still inform the rhythm. But so do the pauses. Consider the pause after “spelling” and before “how to make spells.” This pause influences the musicality of the poem. But the poem uses some other tricks to create rhythm. Look at the rhyme of “yellow” and “spell” (not a perfect rhyme, but a rhyme nonetheless). And look at how it echoes into the next two lines with “spelling” and the repetition of “spell” in the final line. There’s a pattern of sound there, which creates rhythm.

As we can see, meter is not the only contributing factor to rhythm.

How Rhythmical is Your Poetry?

If meter is a pattern of sounds and rhythm is the flow of sound, which of these elements is more important in poetry? When you write poetry, do you check for meter or rhythm? Do you prefer metrical poems or are you drawn to poems with vivid rhythm? Share your thoughts by leaving a comment, and keep writing poetry!

By Melissa Donovan
Source: writingforward.com

Visit us at First Edition Design Publishing

Writing Prompt: How to Choose Your Own (Writing) Adventure

When I was a kid, I loved reading Choose-Your-Own-Adventure novels that had alternate paths written into the story. If you aren’t familiar with them, they were elementary or middle grade chapter books that begin a story and at key moments, offer the reader a choice: “To go through the portal, turn to page 37. To run away, turn to page 45.”

I loved seeing the story change with the choices, and I reread the books making different choices each time to experience a new story. I’ve channeled my inner adventurer to put together a fun writing prompt.

The Choose Your Own Adventure Writing Prompt

Today, I have a writing exercise that puts some choices in your hands. Have fun with it. If you get stuck, go back and swap out one of the elements and try again. The joy is in the journey, not in the destination (although a finished story is an accomplishment, too).

To build your own writing prompt, begin by making choices from categories. I teach my students to write a simple premise before they begin writing a draft, even if they haven’t outlined before. Here are the key components, and they should look familiar if you’ve been following Sarah’s great series on writing and publishing a short story:

A character {usually with a problem}
wants {goal}
But {obstacle / conflict / complication}
So {action he or she takes to overcome obstacle to get goal}

Build Your Writing Prompt

Now, here are the choices. Choose one thing from each category and make your character act to get what he or she wants!

Characters

Choose one and decide whether you want them to be a hero or anti-hero. (A too-reductive hint: hero — admirable; anti-hero — not so admirable.)

  • A sailor
  • A bartender
  • A teacher
  • A musician

Goals

  • To contact an old friend / partner / lover
  • To become anonymous
  • To avoid arrest / detection
  • To accept an inheritance

Obstacles

  • A flat tire or bus / car malfunction
  • Missed an important meeting or rendezvous
  • Exposed secret or miscommunication
  • Attacked by villain / bees / bears / barracudas

Action

No choices here; let the action follow the other choices you made!

Two Sample Writing Prompts

I’ve put these elements together to show you what a premise might look like. Try these out for size:

Sample prompt premise: A bartender wants to become anonymous but her ex-boyfriend exposes her real name, so she quits / seeks revenge / runs off to . . .

Swap it out: A hometown hero bartender wants to avoid arrest after he’s caught in a drunken brawl, but he accidentally overhears his boss on the phone reporting him. He . . .

As you can see, there’s incredible variety to be found even in these short lists of characters, goals, and obstacles. You’ll likely come up with something completely different. And even if the elements you choose are the same as mine, the actions that follow will make your story unique.

Sometimes working from a few choices gets the creative juices flowing. Where will your Choose Your Own Adventure writing prompt take you?

What’s your favorite combination of the elements above? Share in the comments.

By Sue Weems
Source: thewritepractice.com

Visit us at First Edition Design Publishing

Grammar Rules: Capitalization

Proper capitalization is one of the cornerstones of good grammar, yet many people fling capital letters around carelessly.

Not every word deserves to be capitalized. It’s an honor that must be warranted, and in writing, capitalization is reserved only for special words.

Most of the grammar rules are explicit about which words should be capitalized. However, there are some cases (like title case) in which the rules are vague. 

Capitalization of Titles

There are several contexts in which we can examine capitalization. When writing a title (of a blog post, for example), almost all the words in the title are capitalized. This is called title case.

Title case is used for titles of books, articles, songs, albums, television shows, magazines, movies…you get the idea.

Capitalization isn’t normally applied to every word in a title. Smaller words, such as a, an, and the are not capitalized. Some writers only capitalize words that are longer than three letters. Others stretch it to four.

There is an exception to the rule of using lowercase for short words in a title: Words that are important should remain capitalized, even if they are shorter than three or four letters. For example, the word run is only three letters, but if it appeared in a title, it would be capitalized, because it would be the verb (or action) within the title: “Would You Run for Office?” Similarly, important nouns (subjects of objects of a title), such as me, would retain capitalization: Marley and Me.

There’s no fixed grammar rule for which words aren’t capitalized in a title, although they tend to be smaller and less significant words; you should check your style guide for specific guidelines to ensure that your capitalization in consistent.

Capitalization of Acronyms

Every letter in an acronym should be capitalized, regardless of whether the words those letters represent start with capital letters:

  • The acronym for Writing Forward would be WF.
  • WYSIWYG is an acronym that stands for what you see is what you get. Although the words in the original phrase aren’t capitalized, every letter in the acronym is capitalized.
  • Most people use acronyms heavily in text messaging and online messaging. In common usage, these acronyms are rarely capitalized: omg, btw, nsfw. However, if you were using these acronyms in a more formal capacity, they would be entirely capitalized: OMG, BTW, NSFW.

First Word of a Sentence

As I’m sure you know, grammar rules state that the first word in a sentence is always capitalized.

Capitalization of Proper Nouns

To keep things simple here today, we’ll refer to a noun as a person, place, or thing. You need not worry about the other parts of speech because only nouns are eligible for perennial capitalization.

There are two types of nouns that matter in terms of capitalization: proper nouns and common nouns. Proper nouns are the names of specific people, places, and things. Common nouns are all the other, nonspecific people, places, and things.

When considering whether to capitalize, ask whether the noun in question is specific. This will tell you if it’s a proper noun, which should be capitalized, or a common noun, which remains in all lowercase letters.

Proper Noun Capitalization Example

The word country is not specific. It could be any country. Even if you’re talking about the country in which you live, which is a specific country, the word itself could indicate any number of nations. So keep it lowercase because it’s a common noun.

Conversely, Chile is a specific country. You can tell because Chile is the name of a particular land in which people reside. When you discuss the people of that land, you won’t capitalize the word people. However, if you’re talking about Chileans, you definitely capitalize because Chileans are a very specific people, from a very specific country, Chile.

Hopefully that makes sense. If not, keep reading because I’m about to confuse you even more.

Capitalization of Web and Internet

Have you ever noticed the word Internet capitalized? How about the word Web? The linguistic jury is still out on these newfangled technology terms, but generally speaking, the Internet is one great big, specific place. The Web is just another word for that same place.

Wait — what about websites? Do they get capitalized? Only if you’re referring to the name of an actual site, like Writing Forward.

Capitalization of Web and Internet is not a hard and fast grammar rule. Lots of people write these words in all lowercase letters. If you’re not sure about whether to capitalize these words, check your style guide.

Common Capitalization Errors

Folks often think that capitalization should be applied to any word that’s deemed important. Here’s an example:

We sent the Product to the local Market in our last shipment. Have the Sales Force check to see if our Widgets are properly packaged.

It’s not uncommon, especially in business writing, to see nouns that are crucial to a company’s enterprise capitalized. This is technically incorrect but could be considered colloquial usage of a sort. Unless it’s mandated by a company style guide, avoid it.

Here’s correct capitalization of our example:

We sent the product to the local market in our last shipment. Have the sales force check to see if our widgets are properly packaged.

Now, in a rewrite of the example, some of the words will be again capitalized, but only if they are changed to proper nouns (names or titles of things and people).

We sent the Widgetbusters (TM) to WidgetMart in our last shipment. Have Bob, Sales Manager, check to see if our widgets are properly packaged.

What about Capitalization for Job Titles?

Ah, this one’s tricky. Job titles are only capitalized when used as part of a specific person’s title:

  • Have you ever met a president?
  • Did you vote for president?
  • Do you want to become the president?
  • Nice to meet you, Mr. President.
  • I read a book about President Lincoln.

Again, this has to do with specificity. “The president” or “a president” could be any president, even if in using the phrase, it’s obvious by context who you mean. However “Mr. President” or “President Lincoln” are specific individuals, and they call for capitalization.

Grammar Rules!

Do you have any questions about grammar rules regarding capitalization? Any additional tips to add? Leave a comment!

By Melissa Donovan
Source: writingforward.com

Visit us at First Edition Design Publishing

From 101 Creative Writing Exercises: Haiku

Today’s writing exercise comes from my book, 101 Creative Writing Exercises, which takes writers on an exciting journey through different forms and genres while providing writing techniques, practical experience, and inspiration.

Each chapter focuses on a different form or writing concept: freewriting, journaling, memoirs, fiction, storytelling, form poetry, free verse, characters, dialogue, creativity, and article and blog writing are all covered.

Today, we’ll take a peek at “Chapter 7: Form Poetry” with a poetry exercise simply called “Haiku.” Enjoy! 

Haiku

Although haiku appears to be one of the simplest poetry forms, it’s actually quite complex. To truly understand haiku, you need to know a little bit about the Japanese language, or more specifically, some key differences between Japanese and English. Also, traditional haiku adhere to a few pretty strict rules regarding form and content.

A haiku consists of seventeen moras or phonetic units. The word mora can loosely be translated as syllable.

A haiku is a seventeen-syllable verse. Traditionally, haiku were written on a single line, but modern haiku occupy three lines of 5-7-5 syllables.

Haiku also use a device called kireji (cutting word). This word breaks the haiku into two parts, which are distinctly different but inherently connected. The kireji is not a concept used in English, so poets writing haiku in English often use punctuation marks instead of kireji, usually a hyphen or ellipses.

The kireji provides structure to the verse and emphasizes imagery used on either side. It may not always be easy to identify the kireji in a haiku, but if you look for a word or punctuation mark that abruptly breaks the train of thought and severs the haiku into two parts, you’ve probably found it.

Another basic element of haiku is the kigo (season word). A true haiku is set in a particular season and is fundamentally concerned with nature. The kigo might be an obvious word like snow (indicating winter) or it could be vague as with a word like leaves (which can be present in any season).

Contemporary Haiku

There is much debate (and some controversy) over what technically qualifies as a haiku. Some poets merely adhere to the 5-7-5 syllabic and line structure and disregard the kireji and kigo elements. Purists insist that a poem is not haiku if it does not meet all of the traditional requirements.

Additionally, many modern poets do not write haiku that exclusively focus on nature. Contemporary haiku explore just about any subject imaginable.

The Exercise

Try your hand at writing a few haiku. For this exercise, focus on writing a poem that is seventeen syllables on three lines with the following meter: 5-7-5.

Tips: The most captivating haiku are quite lovely and use imagery that is almost tangible. Many haiku have an element of surprise or use turns of phrase that are clever, reminiscent of puns.

Variations: Write a few haiku that follow stricter, more traditional rules. These haiku are concerned with nature and include the kireji (cutting word) and kigo (season word).

Applications: Haiku remain popular and can be found in literary and poetry journals. They are also ideal for social media (especially Twitter) and are fun and quick to write. They promote clear, concise writing and can help you cultivate the art of using vivid imagery.

Give it a Try

Feel free to write a haiku and share it in the comments. Don’t forget to pick up a copy of 101 Creative Writing Exercises, available in paperback and ebook.

By Melissa Donovan
Source: writingforward.com

Visit us at First Edition Design Publishing

 

How to Write a Book in 100 Days

Let’s start with the obvious: You don’t know how to write a book. I’ve written seven books, and I don’t really know how to write a book either. I have a process that works, sure, but with writing, as with many things in life, it’s always when you think you know what you’re doing that you get into trouble.

So let’s just admit right now, you don’t know how to write a book, and definitely not in 100 days, and that’s okay. There, don’t you feel better?

How to Write a Book in 100 Days 2

There’s this one moment I think about all the time. I had just finished work—I had this horrible desk job at the time—and as I was getting ready to go home, I felt this urge come over me to become a writer. I had felt like I wanted to become a writer before, for years actually, but in that moment, it was all-consuming. Have you ever felt like that before?

And so, instead of going home, I got out a blank piece of paper, and I stared at it. I stared at that blank piece of paper for a really long time. Because I was looking for a book. If only I could come up with the perfect idea, if only I could write a book, then I’d finally feel like a writer.

But I couldn’t think of anything, or at least nothing worthy, and after staring at that blank piece of paper for an hour with nothing, I gave up. In that moment, I felt like I was further from my goal to become a writer than I ever had be. I was so discouraged.

I was discouraged because I didn’t know how to write a book.

Honestly, I might still be there today if I hadn’t had a few lucky breaks and several mentors to teach me the process of how to write a book.

13 Writers Who Finished Their Books in 100 Days

You might say you’re not able write a book in 100 days. You might worry that you’re not able to write a book at all. But I don’t believe that. I honestly believe that everyone can write a book, and I’m not just saying that. I believe it because I’ve done it.

In fact I wrote my first book in fewer than 100 days. I wrote my latest book in just sixty-three days.

I’m not alone, either. I’ve worked with hundreds of other writers to write their books, too. Here are just a few:

Fall 2017 Cohort

These writers are just a few who finished their books in our Fall semester of the 100 Day Book program.

Stella Moreux had been “marinating” on an idea for her “southern fried” fantasy novel for more than three years, but it wasn’t until she signed up for the 100 Day Book program that she seriously started writing it. “I won’t mince words when I say this was hard,” Stella says in her post about the writing process. “However, I would not trade this experience for anything. I survived and finished! The 100 Day Book Program is a challenge but worth it!”

Jodi Elderton had written short stories, but never a novel, and with almost two jobs and young kids, she worried she never would. But she says, “This program made it doable, if you stick with it.” By the end, she finished her novel and said to her writing community, “We made it!” Read Jodi’s full story here.

Rita Harris had an incredibly hard year. After committing to writing her novel, she says she had a marriage breakdown, sold her house and moved, and then had a health scare. Any one of those things could have derailed her writing process, but she kept going, motivated by the writing team she had surrounded herself with and the accountability she agreed to. Despite everything, she finished her book, “something which I doubt I would have had even without the life challenges I faced during the course of my writing if I had not enrolled in the program.” Read her story of determination here.

Karin Weiss‘s novel, A Roaring Deep Within, had been languishing half-finished for years. When she began the process, she thought it would be easy, mostly rewriting, but the process proved much more difficult than expected. What saved her was the writing community in the 100 Day Book program. “I found there a ‘writer’s community,’” she says, “that was available night and day that gave me support and motivation to keep going when my energy dragged, or when I felt discouraged at a tough point in my writing.” Read more about how Karin finally finished her novel-in-progress here.

Spring 2017 Cohort

These writers are just a few who finished their books in our Spring semester of the 100 Day Book program.

Sef Churchill decided to write her book in 100 days “on an impulse one Thursday night.” She followed our process, and by Sunday had committed to an idea. How did it go? “Now I have a book,” she says, “a book which before that first Sunday, I had not even dreamed of.” Check out the 10 lessons she learned about the book writing process.

Ella J. Smyth wrote two of her Romance novels (two novels!) in a little over a 100 days. She talks about her experience, and the power of accountability, here.

Nathan Salley set aside one day a week to write his book, and in that restricted amount of time he was able to finish his book in less than 100 days. You can read about Nathan’s experience (and his next steps into publishing) here.

When Margherita Crystal Lotus told me her sci-fi/fantasy mashup novel was going to be over 100,000 words, and that she was going to do it in 100 days, I had a few doubts she would be able to finish it in time. But she did finish in time, a few days early in fact. And now she’s about to publish the finished book. You can read more about her novel The Color Game here.

Kira Swanson rewrote her novel, which she finished in NaNoWriMo, expanding it from a 70,000-word first draft into a 100,000-word second draft. She recently pitched it to agents and had five of them ask to see the finished manuscript. You can read more about her novel revision experience here.

100 Day Book Challenge Performance

Sandra Whitten was feeling lost and unprepared in the midst of her first book. But after she signed up for our course, she began writing every day for the first time and finally finished her book. You can read more about Sandra’s experience here.

Fran Benfield said that before she signed up for our program, she was “drowning in a sea of words” (I can relate to that feeling!). But she did finish, and found her voice through the process. You can read about how she wrote her memoir here.

Uma Eachempati had been wanting to write about her father’s experience as a prisoner of war during World War II for years. She finally finished it in August, writing it in less than 100 days!

Doug Smith told me he had been thinking about his idea for a novel, Phoenix Searching, “for more years than I care to admit to.” By following our process, he finally finished his novel in May! “What I thought was a long shot,” he says, “turned out to be totally doable.”

These writers have finished their books in less than 100 days, and the reality is you can too. You just need to have the right process.

How to Write a Book in 100 Days: 5 Steps

What did these writers do differently? How do you actually write a book in 100 days? There are five steps:

1. Commit to an idea.

Having an idea is easy. Committing to an idea isn’t, especially if you’re like most writers I know and have dozens of them!

The first step to writing a book is to commit to executing—no matter how you feel about your writing during the process, no matter how many new ideas you come up with in the meantime, no matter what other important things come up. You have to commit to finishing no matter what.

2.  Create a plan.

I’ve found that the people who have planned are much more likely to finish their books. A plan doesn’t have to look like a detailed outline, though, so if you’re not into plotting, that’s okay.

Here are a few things your plan should include:

  • Word count. How long will your book be? (Here’s a word count cheat sheet.) Divide that by how many days you have to write: e.g. there are about 71 weekdays in 100 days.
  • Intention. Where will you write each day? How long will you write each day? Visualize yourself writing there for that long.
  • Publishing and Marketing process. Not because you need to know that now, but because by thinking about it and visualizing it, you improve your chances of actually getting there.

If you think through each step of your book, from your initial idea through the writing process to the publication and marketing of your book, you’ll be much more prepared when the writing goes wrong (because it will).

3. Get a team.

Most people think they can write a book on their own. Most people think they don’t need support or encouragement or accountability to write a book. And that’s why most people fail to finish their books.

That was me. I used to think that I could do it own my own. Honestly, I thought I had no choice but to do it on my own. And I failed again and again and again.

Don’t be most people. The great writers throughout history wrote in the midst of a community of other writers. You need a community, too.

A team might look like:

  • A writer’s group
  • A writing course or class
  • An editor or mentor

When you get stuck, as you inevitably will, it’s your team who will help you get unstuck. Don’t start writing your book without one.

4. Write badly every day.

Your first draft will not be perfect. Far from it. You may not be able to stand how bad your writing is. Your sentences might come out as deformed monsters. Your story or logic might go off on strange tangents. You may feel like everything you write is stupid, shallow, and boring.

Write anyway.

It always starts out like this. Writing is iterative. Your second draft will be better than your first. And your fifth draft will be better than your second.

Write badly all the way to the end. You can fix it later.

5. Get accountability.

I had been writing my latest book for two years, two unproductive years of feeling bad about myself all the time for not writing. This was my seventh book. I should have known how to write a book by now. I didn’t.

It took two writing friends calling me out (see step 3) for me to finally realize I needed to take drastic measures.

And so I wrote a check for $1,000 to the presidential candidate I disliked the most (this was during the 2016 election), and gave it to a friend with orders to send the check if I missed my deadline. I’ve never been more focused in my life, and I finished my book in sixty-three days.

Pretty good accountability, right? Most writers need deadlines and accountability to stay focused and do the hard work of writing.

You Can Try to Do This on Your Own, But You Probably Won’t

Have you ever tried to write a book and failed? I have. Many many times over. My biggest mistake was trying to do it alone.

Honestly, it wasn’t until I hired a coach and found a writing mentor that I finally finished my first book.

If you want to write a book, I would love to help you. Right now, for a limited time, you can join the 100 Day Book program. Over the course of 100 days, I’ll guide you through the writing process, and by the end of the 100 days, you’ll have a finished book.

So many writers have finished their books in this program (including the writers above), and so can you. If you want to join the program and finish your book in 100 days like the writers above, you can sign up here.

Have you finished writing a book? What was the most important thing that enabled you to finish? Let us know in the comments!

By Joe Bunting
Source: thewritepractice.com

Visit us at First Edition Design Publishing

How to Use Foreshadowing Like a Master Storyteller

Foreshadowing is a task writers have to approach with the same careful precision they use when threading a needle. It’s not always easy, but when done right, you’re in business. Hinting at a future revelation is necessary for authors of mystery novels, for example, but it’s useful for all writers looking to include a killer twist—no pun intended. Not sure how to use foreshadowing? Not to worry — today we’re covering techniques you can use to thread that needle.

2 Ways to Use Foreshadowing Like a Master

Foreshadowing is a delicate balancing act. You have to toe the line between throwing a random plot twist into your story and making the surprise too predictable for the reader. The trick is to leave a trail of bread crumbs. Here are two techniques you can try for how to use foreshadowing:

1. Drop hints

At first glance, it may seem like a near-impossible task to communicate to your reader that whatever you’re mentioning is going to be important later. How will they know what to look for? After all, there are so many elements to a story, some of which won’t matter at all for your twists.

Is there something significant about that green dress the heroine wears in chapter four? Does it matter that the neighbor walks his dog at three o’clock every day? Luckily, there are a couple of useful ways to clue your reader into the fact that something is important.

This is one of those ways.

See what I did there? By setting that sentence apart from the rest of these paragraphs, I made you pay attention. Now, all of a sudden, you had to insert a pause before and after those few words.

If something critical happens in your story that is going to come up again later, make sure it stands out in the crowd. Start a new paragraph, insert a break in your chapter, whatever you have to do.

A simple formatting technique can make things a little too easy, though. If your hints are hammered into the reader’s head instead of being gently dropped, the magic and mystery vanishes. Decide if there is a better way to get your point across.

2. Repetition is key

Repetition is another trick you can use to send your reader the mental message that they should be paying attention. Think of this as the technique teachers use in their classes. Though some might say, “Write this down; it’s important,” all most teachers have to do is repeat a certain point in various ways throughout the class and their students will make sure that information is in their notes.

Don’t tell your reader to “write this down,” but do rephrase and repeat the key points of your plot.

For example, in one of my sci-fi stories, two of my characters have different habits when it comes to how they put their coats away when they get home: Astrid always tosses her coat across the back of the couch and Dawn always hangs hers up. Every time Dawn and Astrid return to their apartment, I make sure to point out in some way that Dawn’s coat ends up on her hook and Astrid’s is tossed aside.

Later on in the story, Dawn is kidnapped and replaced by a doppelgänger. Though I don’t come right out and say it, it’s obvious that Astrid becomes suspicious of “Dawn.” Why? She doesn’t hang up her coat. It ends up thrown onto the couch along with Astrid’s.

This clue is essential to figuring out that “Dawn” is not who she claims to be, and if the reader is as perceptive as Astrid is, they’ll pick up on that.

Walking the Tightrope

Like with every aspect of writing, foreshadowing gets easier with a little bit (or, I should say, a lot) of practice.

Write with the mindset of a reader. Try to think how you would react to your own story. Is it too easy to figure out? Too out of the blue?

You’ll know what feels right in the end.

Do you have more suggestions for how to use foreshadowing? How do you approach your plot twists? Let us know in the comments!

By The Magic Violinist
Source: thewritepractice.com

Visit us at First Edition Design Publishing

How to End a Story With a Brilliant Twist

Don’t you love a great twist ending?

Often appearing in the middle or at the end of a story, a twist can completely transform the reading experience into a wild ride where anything can happen.

But executing a twist isn’t easy, and if done improperly, can leave your reader feeling deeply disappointed.

And that’s just what many writers unsuspectingly do.

The Wrong Kind of Twist

A “twist” is the revelation of crucial information that radically changes the reader’s understanding of the story. And to work properly, the twist must be related to a major choice made by the protagonist.

Many writers fail to make this connection. Rather, they think that a twist ending simply needs to withhold any important background information until the end of the story. And then, upon revealing it, they will somehow have reached a surprising and satisfying ending.

But this isn’t the case.

I found this to be true as a judge of the 2017 Fall Writing Contest, hosted by The Write Practice. The theme, “Let’s Fall in Love,” yielded many stories where characters simply “remembered” things that happened long ago. Perhaps they were visiting a cemetery where a loved one was buried, or a residence from childhood. The memories came back, and bits of information were revealed throughout the 1,500 word allotment. Then the story was over.

Nothing happened. Little changed.

Sure, surprising information appeared here and there, but it didn’t arrive in the context of choice. 

The revelation of surprising information is not climactic action. Information doesn’t do anything; it just explains.

Yet when that information accompanies a surprising, climactic choice, it enhances the complexity of the choice.

A bad twist is information posing as a choice. But a great twist reveals a choice that the reader usually can’t see coming, and why it is so impactful.

That’s the kind of twist you want.

The Right Kind of Twist

The best twists focus on Choice, and reveal one or two things:

  1. A contradictory motivation behind a major choice
  2. A hidden, contradictory major choice

Take Toy Story 2. 

The heart-wrenching song “When Somebody Loved Me” is a slow, painful twist that reveals the seemingly contradictory choice that Jessie the Cowgirl is making: to go to a museum, rather than entrust herself to another owner. Why? Because despite the nature of a toy (to be loved by a child), Jessie has been deeply wounded by her previous owner, and is too scared to make herself vulnerable again.

Tell me that scene didn’t rip your heart out! 

Or think of The Shawshank Redemption. The protagonist, Andy, has been making a very important (and methodical) choice during his 19 years in prison. The twist reveals it, completely changing the characters’ (and the viewer’s) understanding of Andy’s choices throughout the whole story. His secret choice has been contradicting his visible choices the whole time.

Tell me that moment didn’t change your life!

Both of these twists accompany and complicate a major choice made by a character. They also reveal something contradictory about the character’s nature.

That’s the stuff of a powerful twist!

How to Write a Great Twist

Executing a powerful twist ending isn’t easy. It takes lots of planning, drafting, and revising. And it won’t always work the way you expect. Here’s how to do it:

1. Plan Choices

When you outline and draft, focus on the big, high-risk choices your characters can make. Experiment with a variety of choices, some that are outside your plan or even your comfort zone.

And as your characters solidify in the world of your story, focus on one to two choices that will truly surprise your reader. Hone in on choices that seem to contradict outward appearances or add deeply empathetic context to their difficult choices.

2. Don’t Keep “Secrets”

Unless you’re in the Mystery genre, try not to keep secrets. Sure, be intentional and sparse with your exposition, but don’t buy into the lie that secret background information qualifies as a satisfying twist.

In fact, you should write versions of scenes where you intentionally reveal crucial information (those would-be secrets)! You may find that the scene works better with the truth on the table. It will certainly force you to focus more on character choice, rather than character backstory!

And even in the Mystery/Thriller genres, the best secrets are tied to choices as well. Usually these big secrets are wrapped up in lies, which qualify as character choices — especially when you show them in action.

Keep the focus on choice, and you’ll find yourself in a great position to start executing a twist.

3. Wait Until the Perfect Moment

The best way to identify the perfect moment is to answer this question: “When are the stakes the highest?”

It’s at that moment that you should unleash your twist, as it complicates the high-risk choices made by your character.

I relished the opportunity to do this when I wrote a murder-mystery play. After the “false” ending, just when the characters and audience believe that the evil has passed, the killer reveals his true nature in a deeply personal and shocking way, murdering someone very close to him. It altered every choice the audience had seen him make for nearly two hours, and was even a complicated choice in and of itself, motivated by anger and a thirst for revenge.

But it took a ton of planning, drafting, and revising to finally get right!

Do the Twist

A great twist ending is worth the effort. It sits atop the storyteller’s Mt. Olympus, right alongside eliciting a full-bellied laugh from your reader, or a puffy-cheeked cry.

Few stories are able to deliver it in a deeply satisfying way. Will yours?

Remember: These take lots of practice. You’ll hardly ever get a perfect twist right on the first or second, or even third, try.

But it’s totally worth it. For many of us, great storytelling twists motivate us to tell our own stories. We long to recreate the catharsis of an unpredictable twist.

So do it right. Focus on choices, and the seemingly contradictory reasons why characters make them. Don’t simply hide backstory, but use it to complicate the difficult decisions every character has to make.

So write on, fearless storyteller! And have fun planning and writing great twists that will thrill your readers every time!

What are your favorite twist endings? How do you surprise your readers with a brilliant twist? Let us know in the comments.

By David Safford
Source: thewritepractice.com

Visit us at First Edition Design Publishing

Whose Writing Advice Should You Follow?

Some writing experts say, “Write what you know.” Others say, “Make it up as you go.” Some say, “Write by the seat of your pants.” Other say, “No! Start with an outline.”

With so much contradictory writing advice floating around out there, what’s a writer to do? 

Know Your Goals

First and foremost, the writing advice you embrace should align with your goals as a writer. Think about what you’re trying to achieve, and take your priorities into consideration as you weed through all the advice you encounter. For example, if you want to publish a book a year, you might consider advice from writers who advocate outlining, since it increases production speed from concept to publication. You’ll find some writing advice moves you closer to your goals while other advice interferes with your objectives; choose the advice you heed accordingly.

Everybody’s Different

What works for another writer might not work for you. Most authors today write on their computers (some even write on their tablets or smart phones), but there are also authors who use pen and paper, and that’s what works for them. Don’t assume that other writers are doing it wrong, but don’t assume you’re doing it right, either. And be wary of advisors who insist on specific methods, practices, and processes for all writers.

Don’t Be Stubborn

It’s unfortunate when a writer dismisses good advice out of sheer stubbornness or arrogance. If your process or practices aren’t working for you, you might need to let them go instead of stubbornly clinging to them. Similarly, don’t assume that you know better than people who have been working at the craft for years or decades. If you refuse to heed — or even consider — the advice of experienced professionals, don’t expect your writing to improve. And don’t enter the craft thinking you know better than people who have studied and practiced writing their entire lives.

Be Willing to Try New Things

I believe the real secret to selecting the best writing advice is to try new things. This is especially important when dealing with contradictory advice. Some writers work better under a deadline; others need an open-ended work schedule. But if you’ve never tried working under a deadline, you can’t know if it would improve your productivity or the quality of your work. Try new things, and you’ll eventually find your own optimum working style.

Check Your Ego

Like so many other types of artists, writers can be sensitive and egotistical. It hurts when we come across advice that makes us feel like we’ve been doing it wrong. Some people don’t like to be reminded that they — and their writing — are not perfect. Accept your flaws and imperfections. Embrace the fact that there will always be more to learn and room for improvement. Be open to writing advice; it’s not there to make you feel inadequate or inferior; it’s there to help you become the best writer you can be.

There’s a Time and Place for Everything

A common piece of writing advice is “show, don’t tell.” But there are times when it doesn’t make sense to show the reader certain events. You might heed different bits of writing advice at different times and for different projects. Perhaps you outline your novels but you write short stories by the seat of your pants. Maybe you “write what you know” when you’re working on nonfiction projects, but you like to delve into make believe when writing fiction. Use the writing advice that you need when you need it.

Check the Source

If you’re uncertain about a piece of advice, look further into the source. Are you getting advice from someone who’s new to the craft? Is this source even a writer? The world is full of people who think they’re experts on everything under the sun; make sure you can distinguish an uninformed opinion from qualified writing advice.

Take It All with a Grain of Salt

Finally, take it all with a grain of salt. If you’re getting your work done and improving your writing skills with each project, you’re probably already on the right path. As you pick up new bits of writing advice, experiment with them and see if they have a positive impact on your work. Remember, writing advice exists to help all of us become better writers. Know your goals. Take the writing advice you need, when you need it. Be willing to experiment. But most importantly, keep writing.

By Melissa Donovan
Source: writingforward.com

Visit us at First Edition Design Publishing

 

4 Lies That Are Keeping You From Writing a Book

There is a book inside you.

There has to be. Why else are you reading a post about writing a book?

lies 2

Getting that book out, of course, is the extremely difficult part. The words don’t come out as we imagine. The time to write shrinks as life gets busier.

And so many questions vex us — so many lies that we tell ourselves to avoid the challenge ahead.

But you have to write your book. It’s one of the greatest driving forces in your life.

4 Lies That Stop You From Writing Your Book

Before you can get started, you have to confront and reject the four lies that have probably been keeping you from writing the book of your dreams. Tackle these lies head-on, and replace them with the truth:

1. It has to be long

How long should a novel be? Is there an exact number of words or pages for it to be a success?

This question can certainly stop us in our tracks. The idea of writing a novel always seems enormous, like climbing the world’s tallest mountain.

Yet there is no rule about how long the book has to be. That’s up to you.

Sure, there are genre-specific suggestions about word counts. The good news is that most of them are lower than you might think! Especially if you are a new author, agents and editors want to see how much story you can tell with fewer words, saving on publishing costs.

There is no absolute book length that works. Of Mice and Men is 30,000 words long, while A Game of Thrones is 300,000.

It’s up to you and your creative process, so don’t let false expectations and fear tell you that your book won’t be long enough to count.

2. I have to have the story figured out

This lie is a crippling one. It demands perfection even before we’ve started.

Yet it is impossible to know exactly how our stories are going to go before we’ve written them. Every attempt at a story runs into surprises and roadblocks. Our plans, no matter how exhaustive, always fail to materialize just how we thought they would.

This is completely natural — and it’s really, really good!

Yet our inner perfectionist makes impossible demands. It suggests that deviating from your plan is somehow failure.

But this is a lie! Creativity is deviation from the plan! It is finding solutions when logic and order don’t work!

So while it is extremely wise to have a plan, and know where your story is generally going, don’t give up on your book dream just because you haven’t created it yet!

3. I’ll start but I won’t finish

My favorite Shakespeare play is Macbeth, which features one of my favorite storytelling devices: the self-fulfilling prophecy. By resisting the witches, Macbeth brings about his own tragic doom.

Unfortunately, this trope extends into real life, especially with artists like us. We long to create, but fear that we lack the discipline or talent to finish something good.

So we give up before even starting. Hence, the self-fulfilling prophecy.

Don’t let this lie seduce you. It  is especially seductive because it delivers a sense of false control: “If I don’t start, then I won’t fail,” the thinking goes.

To fulfill your dream of writing a book, you have to commit to finishing, no matter what. Even if you fall off the wagon for a season, you can still get back in the writing groove.

But you have to get started first.

4. No one’s going to read it

This is similar to the previous lie because it speaks a prophecy that we fulfill on our own. “No one’s going to read it, so I just won’t write it,” we think to ourselves.

What a tragic lie! Our struggling self-confidence produces tangible failure, all by doing nothing!

We can’t know who’s going to read or buy our book yet. We just can’t. By the time we’ve finished writing it, our life situation will have changed because time rolls on.

I will say this, though: Very few people actually fulfill the commitment to write a book.

Most hem and haw, mumbling about “wishing” and “someday.” Very few actually do it.

By writing a book, you will attract readers to yourself, especially if you serve those readers along the way.

One popular way of writing a book is to blog it, as Andy Weir did with The Martian. One chapter at a time, he posted to his website and slowly gathered a following. While he is certainly a rare and privileged case, it shows how giving and serving with our writing can solve our readership problem.

Commit to Your Book

There’s a book inside of you. That’s why you’re on this website, looking for help with your writing.

So commit.

Whether it’s 100 words a day, 500, or 1000, commit to working on your book every day.

Join a community, like a local writer’s group, Becoming Writer, or the 100 Day Book Program. Hold yourself accountable by joining other writers with a similar dream as yours.

But whatever you do, own the reality that you are a writer with a dream. There is a book inside of you that is longing to be written. It won’t be easy. It never is.

But it is beautiful and totally worth it.

So commit to your book today, and begin the journey that will change your life forever!

Have you committed to writing your book? Share how you’re keeping up with your commitment in the comments below!

By David Safford
Source: thewritepractice.com

Visit us at First Edition Design Publishing