Tag Archives: writing tips

How to Spark Your Story With an Inciting Incident

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If you are planning on writing a story, there is something you need to consider besides basic plot structure. You need to determine your Inciting Incident.

What incident will compel your protagonist to act?

What Is an Inciting Incident?

I am reading The Story Grid by Shawn Coyne and Story by Robert McGee to learn how to write a compelling story. Both Coyne and McGee emphasize the importance of writing a compelling inciting incident.

To incite means to stir, encourage, or urge on; to stimulate or prompt to action.

An inciting incident, then, is an event that forces your protagonist to act, compelling them to stop sitting around and do something.

Shawn Coyne has this to say about inciting incidents:

No matter the unit of story (beat, scene, sequence, act, or global Story) what the inciting incident must do is upset the life balance of your lead protagonist/s. It must make them uncomfortably out of sync . . . for good or for ill.

Robert McKee agrees:

If the protagonist’s toaster breaks it won’t compel her to get a job because she can afford to buy a new toaster.

However, if her bank manager steals all of the money from her account and flies to Brazil, she will be compelled to get a job. She is forced to act.

As Robert McKee says,

The protagonist must react to the Inciting Incident.

Why Do You Need an Inciting Incident?

If nothing happens to your protagonist you don’t have a story. Something has to happen.

Without an inciting incident nothing meaningful can happen. And when nothing meaningful happens, it’s not a story. —Shawn Coyne

If the story I am writing is about a toaster, but my toaster doesn’t do anything but sit on the counter, there is no story.

If the toaster catches on fire and burns down the house, then there is a story. Will the toaster get caught? Will the fire department blame the cat? Can the toaster be repaired?

How Does an Inciting Incident Happen?

An inciting incident can happen in one of two ways:

  1. By choice
  2. By accident

The protagonist might choose to adopt six cats, buy a one-way ticket to Japan, or decide to enter a hairy leg contest. All of these inciting incidents would compel the protagonist to take action.

Inciting incidents that are not by choice can happen as a coincidence, randomly, or as an accident. The protagonist meets a Naval Officer at a bar. A cat climbs into the protagonist’s lap and refuses to leave. You thought your flight left Bangkok at two in the afternoon, but it left at two in the morning, and there are no flights for another three days and you have spent all of your money.

No matter whether the inciting incident happens by choice or by accident, Robert McKee says it should occur “in the first 25 percent of the telling, no matter what the medium.”

If the writer, playwright, or screenwriter waits too long to incite the protagonist to action, the reader or audience might get bored and not continue with the story.

How Do You Resolve the Inciting Incident?

Shawn Coyne says the ending of a story must have two things:

  1. The ending must be reasonable and an inevitable result of the inciting incident.
  2. The ending must be surprising.

He gives examples of inciting incidents from different genres that have climaxes that are expected.

Murder mystery

  • Inciting incident = the discovery of a dead body
  • Climax = solving of the crime

Love story

  • Inciting incident = lovers meet
  • Climax = will the couple stay together?

Horror novel

  • Inciting incident = attack by the monster
  • Climax = confrontation between lead character victim and the monster from the inciting incident

An inciting incident creates chaos in the life of the protagonist. The story occurs when the protagonist tries to get their life back into balance. As Robert McKee says,

Characters are what they do. Story events impact the characters, and the characters impact events.

The climax or resolution of the story will put the protagonist’s life back together in some sort of new way, for better or worse. Hopefully, it will put their life back into balance.

What will your protagonist do? What is going to incite them to take action? Please let me know in the comments.

By Pamela Hodges
Source: thewritepractice.com

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Don’t let your dream die with you

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Arden Edwin Harper
May 17, 1926–January 8, 2018

The man pictured at top is my father, Arden Edwin Harper. He died this past Monday at the age of 91, and I miss him more than I can say. But I don’t want my loss (and that of my brother and sister) to override the value of the lesson he taught me. Of course there were many lessons, but the one I’m referring to is to not wait another minute to do (or at least put into action a plan to do) something you’ve always wanted to experience or accomplish.

 While my father was a highly-educated man–he had a master’s degree and was a teacher, coach, principal, and superintendent of schools throughout his entire career in education (and beyond, since he taught mathematics at two different community colleges following his retirement from the public school system), he was also a gifted writer. Late in his life, around 80 or so, he began to take an interest in writing stories about his youth, his high school and college years, his experiences in the Army during World War II, and other topics. He had a phenomenal memory and could recall the names, dates, places, sisters, brothers, parents, etc., of everyone and every place that populated his stories. I have one book-length manuscript he wrote detailing his time in the Army during WWII, and many shorter essays/stories on other topics. I recall when I was younger hearing him say he’d like to write a book one day. I always assumed he would. After all, he was my dad; he could do anything.

When his interest in writing was re-kindled, he was into his ninth decade on this earth. Technology was a real challenge for him, although he was as sharp as he ever was right up until about a week before his death. Intelligence wasn’t the problem. It was not being able to keep up with the constant changes in technology and the publishing process that eroded his desire. Oh, he still enjoyed the act of writing and hearing my reactions to his pieces of work, but his interest in actually publishing anything at that late date was slowly being extinguished. It seemed insurmountable. Perhaps it was.

I mourned that loss, and tried many times to convince him that he still had so much to offer the world, that there weren’t many WWII veterans left who could so accurately tell their stories of that time in our history, that I would help all I could with any questions he had on computers, technology, or submitting his work. But I think he felt it was just too late. But I don’t think so. I think he could have done a fine job of writing that book (or books) even at his age. I think he thought he could always do it tomorrow, but tomorrow turned into next week and next month and next year, and eventually led to his last day.

I’m certainly not disappointed in the writing work he did accomplish. It is well-written, hilarious, inspirational, historically accurate, and done expertly. I will cherish it always. I’m disappointed, though, that he never had the chance to hold his published book in his hands and tell himself, “I did this.” Because he could have.

Now I know our desires and dreams change as we age. Other things were just as–or maybe more–important to him as time went on as writing ever was. He was happy, occupied, content. He read a lot, kept up on current events, was a master at crossword puzzles (I mean hard ones) and Sudoku. His mind was sharp, but his stamina waned, and so he eventually lost the will to do what he once thought he could do some time during his life.

Don’t let this happen to you. I’m primarily writing to you writers out there, but this could be applied to any dream or goal of anyone reading this. What’s the worst that could happen if you gave it (whatever “it” might be) your all? You might decide you don’t like it as much as you thought you would. You might fall flat on your face and tell yourself you’ll never do that again. So be it. That happens to me all the time. It happens to all of us all the time. But there’s something about that very special dream that makes us gun-shy. Hate it, fail it, but please, never, ever, ever sell yourself short by not trying it.

My dad didn’t completely give up on his dream, and I realize that the writing he did do was probably enough for him at that stage in his life. I’m happy for that; I really am. But I’m sad that the world didn’t know Arden Edwin Harper as the author of the fine work he produced.

Maybe I’m looking for something to hold on to now that he’s gone. Or wishing some accomplishment on him that he really never wanted that badly. Could my hearing him talk about writing a book have been a frivolous comment he made that I just took too seriously? Could his writing that book-length manuscript without having it actually published been enough for him? I won’t know this side of Heaven, and by that time it won’t matter.

My father was a fine man. The world will just have to take my word for it that he was also a fine author. Because he was.

Source: authorculture.blogspot.com

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Reality Check for Authors … What Were You Thinking?

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I’ve often said that authoring can be (and is at times) a lonely number. When you are hunkered down, the less “outside” noise, the better. When you are wondering,

What was I thinking when I thought (and told everyone) I could write a book?

… it can be a scary thought. When you are taking on the role of publisher, it could be your Holy Moly moment.

Those of us who are long-in-the-tooth in the publishing world get all those feelings, thoughts and experiences. And one thing we all know, is that YOU are not alone. Ever. There are gazillions of authors and authors-to-be who go through those same moments. What was I thinking …

I’m a HUGE supporter of creating an Author Inner Circle. An AIC that serves as a trusted advisory board … just to you. Your AIC knows you, what your book is about, helps shape your publishing plans, and acts as a reality check.

Throughout the publishing journey, authors need feedback, reality checks and plain old-fashion butt-kicking. And authors need a little kindness. Few think about putting together an “official” type of board to serve in the feedback/reality check/butt-kicking honors. An Author Inner Circle … a type of Advisory Board. Do you have one? Have you thought about creating one?

Who Belongs in Your Author Inner Circle?

It’s a new year. How about creating yours? Your Author Inner Circle … trusted colleagues, friends, and always individuals who have “been there, done that.” Most likely, Mom, Dad and your siblings are not included. The exception would be that they are experienced in publishing on their own—otherwise, you take a pass on them.

What you want are individuals who “get it” … they have an inkling of what is going on in the publishing business. They are also someones who:

  • have a kaleidoscope of business experience;
  • are connected with others;
  • have a sense of humor;
  • will say it as it is;
  • will call out the elephant in the room (which could be you);
  • love to brainstorming and bounce off-the-wall ideas around;
  • move you to action;
  • get what social media marketing is about;
  • will embrace your Vision for your book and where you want to go with it.

That’s a lot of someones … individuals who rarely will encompass all the ingredients as a single person.

Here are my nine someones that can make the difference between success and failure in your publishing endeavors:

  1. You want someone who has got an inkling of what is going on in the publishing business. We all know publishing is in a combo evolution and revolution. Who is out there in the midst of it?
  2. You want someone who gets your Vision for your book and where you want to go with it. She or he gets it; gets you; and becomes your cheerleader. The passion you have and amount of time, energy and money you invest in your commitment to your book project is understood and supported.
  3. You want someone who is connected with others and opens doors. Yes you do—someone with a phone call, text, or email request can get you to a source—someone who knows someone else that can smooth your way or offer assistance.
  4. You want someone who has a kaleidoscope of business experience. Absolutely—one of the key failure factors in the authoring/publishing business that most authors don’t recognize. This person gets a P & L, understands contracts and negotiating. If he or she knows publishing, it’s a bonus.
  5. You want someone who loves brainstorming and off-the-wall ideas. Eccentric, a tad wacky—you name it, this person walks to a different tune … most of them you don’t get, but once in a while, your unique and odd-ball someone hits it out of the park.
  6. You want some who gets social media marketing. But there’s a catch, this person has to be able to articulate knowledge/concept/game plan in your mother tongue what he or she is saying and you understand it. It doesn’t mean that you are going to be the full time implementer of what social media you are creating and using. For me, I write mine—but I don’t push it out. I have someone on my team that does that task daily.
  7. You want someone who has a sense of humor. Not only can authoring and publishing be lonely at times as you tunnel yourself into the completing of your book—there are booby traps along the way. Being goofy can be a good thing.
  1. You want someone who will say it as it is and not side-step any elephant in the room, including you. Let’s face it; we all get stubborn at times; quite myopic in the author paths we get into our head. You need a reality checker. Who is out there and has the guts to tell you that you are off your authoring/book rocker?
  2. You want a “Go-Go-Go” person who gets you into action. No butt-sitting allowed or procrastination allowed.

As you start to build this team of individuals, take little steps. You may instantly know who will fill several of the slots I suggest. You may have other categories based on your genre that need to be added. Some, you will interact with one-on-one via phone, in person, or an online platform. Some, you might gather over Zoom, Go-to- Meeting, Skype or other online video mediums. And some may be let’s get together for breakfast or lunch.

This is a time I will say to you, just do it … it’s a new year for you and your publishing.

By Judith Briles
Source: thebookdesigner.com

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Kill Perfectionism With This One Practice

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It can feel impossible to know where to start writing.

We can become paralyzed by fear, worrying our words will offend or bore readers, or worse, that we’ll never have any readers at all.

If we jump in, we might quickly find ourselves nose-deep in all the complications of story writing, tangled in plot, character development, and dialogue tags. Or a Google search might drown us in writing advice, suddenly flinging us into an identity crisis — who are we, why do we write? Are we plotters or pantsers? How can we even know the difference? *hides under desk*

This isn’t just a problem for newbies, either.

The Story of a Perfectionist Writer

Despite having been a published nonfiction writer for over a decade, when I wanted to branch into fiction writing, I had no idea where or how to start.

As a planner, it made sense to me to begin with an outline. I started there, but pretty soon I became bogged down in perfectionism, trying to think the whole story out before beginning to write it. The story screeched to a halt.

I’d heard many stories are character led, whatever that meant, so I created a character; a gruff, bristly cowboy, leaning up against a barn, with a cigarette smouldering between his thick fingers. Unfortunately for him, that was all the depth I could give him without the context of a story. Years later, when I’d think of him, he’d still be standing there, smoking that same cigarette, isolated and alone without a plot to live in. Poor guy.

My solitary efforts yielded nothing, so I read. And researched. And listened to podcasts and watched videos. (A perfectionist’s fancy way of procrastinating.) In the swirl of information, the identity crisis hit. Who was I? Why did I want to write fiction? Was the ability inborn, or could I learn it?

Pretty soon I was convinced fiction writing was too complicated for me.

The Advice That Transformed My Writing

Finally I invited my friend for coffee and to beg for advice. She’s an avid fiction author who pumps out at least one book a year and has thirty titles to her credit, so I knew she’d have some excellent insight.

“How on earth am I supposed to do this??” I asked her. “How does one create a story?” I leaned in, eager for the key to my fiction-writing success.

She shrugged. “You just write it.” She said it matter-of-factly, like it was as obvious. To me, it was obviously wrong. That’s what I’d been trying to do, and it wasn’t working.

“Just write it? I can’t do that. I need a plan.”

“No you don’t. I start most stories without a plan. As I write, the story comes.”

“What?! That’s insane!”

She shrugged again. “You might end up writing a whole lot of crap, but if you keep going, you find the good stuff.”

I didn’t buy it, but let the advice percolate. Writing was too difficult a task to risk “writing crap.” I couldn’t bring myself to do it.

Then, in the book Outlining Your Novel, K.M. Weiland proposed two words that changed my life: “What if?” I realized finding the answer would necessitate a lot of dead-end scenarios. I would have to jot down a lot of crummy ideas and terrible plots before I came up with the best one. I would have to allow those incomplete, embryonic, never-to-see-the-light-of-day ideas out onto paper.

That’s when I realized my friend’s advice was true. I would have to “just write it.”

That morning, I sat to write a fiction piece. Anything. It didn’t matter. I was just going to make it up on the spot. Even if it was crap, I decided, it would at least blunt the perfectionism that had held me back.

Inspired by a painting, I wrote one line. Then another. I kept adding one after the other without knowing anything about who was in the story or why. It was a freeing exercise to “just write.” What resulted was a mediocre story that had a reasonable plot and semi-inspiring conclusion.

3 Lessons About Perfectionism From a Writer Who “Just Wrote”

The experience taught me three things:

1. Giving yourself permission to write total crap quiets perfectionism

Perfectionism isn’t necessarily bad. In its healthy state, it can drive us to achieve goals and feel a deep sense of satisfaction as a result. In its unhealthy state, though, it can freeze us with fear or cripple us with self-criticism. That’s the version we need to break free from.

It starts with giving ourselves permission to not be perfect — to write crap.

With that permission firmly in place, it becomes this decision to conduct an experiment, the results of which do not define us or our abilities.

This one, highly effective, low-risk decision can make an effective path through perfectionism. It sure did for me.

2. Permission to write crap unlocks creativity

Creativity is a cautious, tender creature. It hides from anything that might kill it — like the pressure we put on it to be something it isn’t.
However, with the decision to cast aside high-achievement and simply run an experiment, suddenly the pressure to write the next Harry Potter dissipates, and we’re free to let whatever we think of flow onto that blank page.

Permission to write crap unlocks creativity.

“It’s about getting that critic out of the way and immersing yourself in a flow of pure creativity. Do that, and you’re doing well.” Sean Platt, Write, Publish, Repeat

3. To grow in the craft of writing, one must write

Research, reading, thinking, or “letting it percolate” do not a book write. They’re necessary to the process of writing, but they are not the only elements.

Knowing and doing are two different things — it’s the difference between knowledge and experience. One can become knowledgeable about driving by reading books, interviewing the best drivers and car manufacturers, and studying related stats.

When they get in the car, though, the realities of the experience come to life. Hundreds of traffic signs, lights, pedestrians, and flashing ads all pull attention from what seemed like a simple task. Understanding is born.

Sometimes, perfectionism is just a cover for procrastination.

The Secret to Writing Success

Here it is: At some point, every single writer must finally follow these three steps: 1) Place butt on chair. 2) Place fingers on writing apparatus. 3) Write words.

Give yourself permission to do just that, and who knows what stories you’ll create?

What strategies do you use to overcome perfectionism in writing? Let us know in the comments.

Source: thewritepractice.com

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Can the Right Writing Tools Help You Write Better?

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When I first started writing, it was just me, a ninety-nine cent pen, and a cheap spiral-bound notebook. Using those tools, I wrote dozens of poems, stories, and journal entries.

These days, I’m surrounded by far more sophisticated writing tools: fancy pens and journals, a computer with writing software, a library of writing resources, and the Internet.

My writing has come a long way since I was a thirteen-year-old curled up on the floor with a pen, a notebook, and my imagination. Certainly, experience and studying did a lot to help me write better, but did these newfangled tools also improve my writing?

Yes and no.

I think a few writing tools do help us write better, but for the most part, tools make writing easier or more comfortable. They don’t improve our writing, but they do improve our writing process.

For a closer look at the tools that are available to us, and their benefits, I’d like to present a few excerpts from my book, 10 Core Practices for Better Writing. These excerpts are from “Chapter 8: Tools and Resources.”

“It’s best to have your tools with you.” – Stephen King

Where would we writers be without our tools and resources? From cheap pens and notebooks to expensive word-processing software, from thick reference books to online databases packed with facts and information, our tools and resources are both bane and boon. Love them or hate them, one thing is certain: if you’re a writer, you need them.

When we are striving to improve our writing, the act of writing and all the skills that go into craftsmanship are just one piece of the puzzle. We need a place to write, tools to write with, writing references to consult, and research material to cite.

Every writer will develop personal preferences—a favorite writing spot, preferred writing instruments, and a host of trusty resources. These things might not directly improve your writing, but they will make your experience and your process more enjoyable and more efficient.

When you are fully equipped with the writing tools and resources you need to get your job done, you’ll do your job better.

Your Writing Tools

Writers’ tools may seem obvious: a pen, notebook, computer, and writing software like Microsoft Word are the basics.

But technology has opened up a wider range of tools that we can use, and not all of them are designed just for writing.

Lots of modern products cater to personal preferences. You might prefer a thick pen with a sturdy grip and steady ink flow, or maybe you’d rather work with disposable pens so you don’t have to worry about losing them. Maybe an expensive notebook with archival-quality paper forces you to put more thought into your writing, or perhaps you’re more comfortable with a cheap notebook so you don’t have to worry about making mistakes or messing up an expensive blank book.

Your preferences might be based on your budget or your personal taste. As with most things we do as writers, you have to find which writing tools work best for you.

Here are some basic tools that most writers use:

  • Pens: Choices include ball-point pens, fountain pens, pencils, highlighters, and markers. I like to keep a few red pens around for editing.
  • Notebooks: Blank books, journals, and notebooks come in various sizes and with a range of quality in the paper. You can also get hardcover or softcover, spiral or perfect bound, blank pages or lined pages.
  • Office supplies: You might need supplies to help you organize your writing notes and materials: binders, file folders, labels, tab dividers, staplers or paper clips, and binder clips (for securing large manuscripts) are just a few examples of office supplies that might come in handy.
  • Hardware: The typewriter gave way to the computer. Now we also use tablets, smart phones, and e-readers.
  • Software: Microsoft Word is the industry standard, but Scrivener is the writing software preferred by most of today’s authors. Other popular software includes Pages (by Apple), text programs (like TextEdit or Notepad) and online, cloud-based software such as Google Drive (formerly Google Docs).
  • Apps: There’s a huge range of apps for writers, including dictionaries, thesauri, encyclopedias, e-books, voice-to-text, and recording apps, plus apps for ideas and inspiration. One of my favorite apps is Scapple, a brainstorming app created by Literature and Latte, makers of Scrivener.

Whatever tools you use, if you’re writing electronically (and you probably are, otherwise you will eventually), make sure you have a backup system in place. An external hard drive is ideal for backups and there are online backup systems you can purchase as well. Ideally, you’ll store backups off-site (keep a backup at a friend’s house or store it online).

Be judicious when shopping for your tools. One great way to preview various writing tools is to shop online. You can read reviews by other customers and get a sense of the product’s features and flaws. It’s also easier to do price comparisons online.

Don’t put too much pressure on yourself about collecting tools. Some people will use their lack of the proper tools as an excuse not to write (I can’t afford this expensive software right now, so I can’t start my novel). All you need to get started is a pen and notebook. You probably already have access to a computer. Remember that, ultimately, writing is about getting the words down. The tools we collect just make the process easier or more comfortable.

What are some of your favorite writing tools? Do the tools you use improve your writing or make your writing process easier? Do they help you write better?

By Melissa Donovan
Source: thewritepractice.com

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How to Critique Other Writers’ Work

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As a writer, it helps to be thick-skinned.

Professional writing is a highly competitive and saturated field in which criticism is omnipresent for two important reasons:

1) It’s the most efficient way for writers to improve their skills, and

2) Written work is often positioned to receive widespread criticism upon publication.

And guess what? Everyone’s a critic — because everyone has an opinion. Anyone can read a piece of writing and opine that it is good or bad, weak or strong, or that it succeeded or failed.

There’s an art to providing well-constructed and thoughtful criticism that is helps a writer improve the work and that recognizes the fine line between personal preference and the objective quality of the work.

The process of critiquing other writers’ work thoughtfully and intelligently will strengthen your own writing. The tips below explain how to provide critiques that are helpful and respectful. If you can apply these tips to the critiques you give, then you’ll better position yourself to receive helpful and respectful critiques in return.

Don’t Crash the Party

Generally, it’s bad form to sound off on a writer’s work unless you are invited to do so. There are a few writers who can’t handle feedback, and often these are the ones who won’t ask for it. Chances are, they’re just going to defend their work to the bitter end, so your feedback will be little more than a waste of time. Other writers will openly declare that feedback is always welcome. It is here that you should focus your efforts, assuming your goal as a critic is to help people, and not make them feel inferior or feeble. However, your best bet is to simply limit your critiques to those writers who personally ask you for feedback. This will usually be a trade, in which you swap critiques, an arrangement that should be mutually beneficial.

R.S.V.P. with Care

Some writers ask for feedback, but what they really want to hear is how great they are. These are the narcissistic types who write more for their own egos than for the sake of the craft itself. It takes a little intuition to figure out which writers really want you to weed out all the flaws in their work and which are just looking for praise. If your critique partner asks specific questions, you should answer, but try to avoid back-and-forth arguments and getting into a position where you are defending your critique or where the writer is defending his or her work. Exchanges like these are a sign that this is not a beneficial or positive critique relationship.

Bring Something to the Party

If you’re giving a critique, whether in a writer’s group, a workshop, online, or with a friend, you should take the time to really read a piece before you construct your feedback. Read every line carefully and make notes, mark it up as you go, and then jot down your thoughts when you’ve finished reading. If time and the length of the piece allow, give it a second reading, because that’s often where things really click or stick out. There’s nothing worse than receiving half-baked feedback. It’s blatantly obvious when someone hasn’t put sincere effort into a critique, and it renders the critique useless.

Devour the Food, Not the Hostess

Whatever you do or say during your critique, your feedback should be directed at the writing, not the writer. Don’t start your comments with the word you — ever. Always refer to the piece, the sentence, the paragraph, the prose, or the narrative. You are judging the work, not the individual who produced it, and though compliments aimed at the writer might be well received, there’s a subtle but significant difference between pointing out flaws in the piece versus the person who created it.

Let the Good Times Roll

When you are giving a critique, always start by emphasizing the good. This is the cardinal rule of effective critiquing, and I cannot emphasize this enough: always start by telling the writer what works and where the strengths lie. By doing this, you’re kicking things off on a positive note. Also, it’s much easier for a writer to hear where they have failed after they hear where they’ve succeeded.

Here are two examples to illustrate this point:

1. The language is effective, with strong, colorful images. I can easily imagine what’s happening in this scene. However, some of the phrases are clichés, so one way to make this even stronger would be to come up with alternatives for the more commonly used phrases, like…

2. Well, there are a lot of clichés. You should have tried to use more original word choices. But your imagery is good; I can visualize what the piece is communicating.

The first example is an appropriate critique whereas the second is both unprofessional and inconsiderate. It’s much easier to let a little air out of an inflated balloon than to blow up a deflated one. It’s especially easier on the person who is on the receiving end of your feedback.

Try to Have Fun Even if it’s Not Your Scene

Some people hate stories written in first person, but that doesn’t make a piece written in first person bad; it just makes it less appealing to the person who is turned off by it. Know the difference between your own personal preferences in terms of writing styles and try to separate these from your critiques. You can also issue a disclaimer letting the writer know that some of the elements in his or her work are not to your personal taste. If the entire style or genre is outside of your taste, then you may be doing the writer a favor by declining to critique or by recommending someone who would be a better match.

Help Clean up the Mess

Eventually, you’ll have to tell the writer where the piece falls short. Do this with grace. Avoid using strong negative language. Don’t repeatedly say things like “this is weak,” “you’re using the wrong words,” or “it’s boring.” Instead, use positive language and phrase your comments as suggestions for making improvements:

  • This word is vague. A stronger word would be…
  • A better word choice would be…
  • This could be more compelling or exciting if…

Remember, you’re there to help, not to hurt. If someone appreciates your opinion enough to ask for it, then provide it in a manner that is conductive to learning and supportive of the writer’s efforts to grow. Whenever possible, offer concrete suggestions. If you spot a weak word, try to offer a stronger replacement word.

Nurse the Hangover

There’s a good chance that no matter how gentle you are, your writer friend will feel a bit downtrodden after hearing that their piece still needs a lot of work. Many writers are tempted at this point to give up on a piece, while others will be motivated and inspired by the feedback.

After you’ve given a critique, check back with the writer and ask how the piece is coming along. Inquire as to whether your comments were helpful, and offer to read the piece again after it’s revised.

Learning How to Critique

Constructive criticism involves a little compassion. If someone cares enough about their work to show it around and invite feedback, then it’s probably something in which they are emotionally invested. If you are the person they feel is qualified to provide that feedback, then embrace the invitation as an honor, and approach it with respect.

It can be awkward at first — after all, who wants to be the bearer of bad news (and almost every critique contains at least a little bad news)? After you do a few critiques, you’ll get the hang of it, and it will become easier and more natural. Just keep these basic tips on how to critique in mind:

  • Don’t provide a critique unless you’ve been invited to do so.
  • Don’t waste time on writers who are looking for praise. Seek out writers who want feedback that will genuinely help them improve their work.
  • Take time and make an effort so you can offer a critique that is thoughtful and helpful; otherwise, just politely decline.
  • Critique the writing, not the writer.
  • Always start with the strengths, then address the weaknesses and problem areas using positive language.
  • Be objective, especially if the piece you’re critiquing is not in a style or genre that you prefer.
  • Make solid suggestions for improvement. Don’t be vague.
  • Follow up with the writer to offer support and encouragement.

Do you have any tips to add? Have you ever struggled with providing critiques to other writers? Has the critique process helped you improve your own writing? Share your thoughts by leaving a comment, and keep writing.

By Melissa Donovan
Source: thewritepractice.com

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Story Ideas: How to Beat Shiny-New-Idea Syndrome and Actually Finish Your Projects

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Authors often get asked where they get their story ideas. It’s one of the most common questions my student writers wish they could ask their writing heroes. They think, “If I could just find a way to come up with the next best-selling story idea like [insert famous author], then I’ll make it as a writer!”

But they misunderstand one critical truth: the magic isn’t in the ideas. It’s in the execution.

We need the ideas to get started, but many writers don’t have a system for capturing the ideas around them daily, and they don’t develop ideas consistently in practice.

We all have files full of unfinished projects and story ideas spread across notebooks and online platforms. Why do ideas lose their luster the moment we start writing them?

The Problem with Chasing Story Ideas

I had a student who was a few days away from his deadline for his final fiction project and he came to see me.

“I found a better idea and want to change my project,” he said.

“How much have you written on this new idea?” I asked.

“Well, you see, it’s about this guy …”

I interrupted him. “No, how much have you written on it. How many words?”

He shifted uncomfortably. “None, yet.”

I shook my head. “Write it down in a sentence in your journal, and finish the original project first.”

He sputtered a bit about how great this new story idea was compared to the thousands of words he’d written on his current project.

I had to give him the talk I give many students and myself when we feel stuck and get caught up chasing a new shiny idea instead of getting in the chair and grinding out the work.

“Ideas are nothing until you execute them. Your desire to chase something else is resistance. You are close to finishing the longest piece of fiction you’ve ever written. Finish it.

“The idea will still be there. You’re afraid the current work won’t be as good as it seemed in your head, when it was a shiny new idea like the one you’re courting now.

“But the magic isn’t in the idea. It’s in the way you execute it, which means you need a first draft. Then we’ll revise it into the work you want it to be.”

It wasn’t the answer he wanted to hear, but he ultimately finished the original project.

A System for Managing Story Ideas

A system can minimize shiny-new-idea syndrome, because you will have a plan for what to do when a new idea appears in the midst of your current project.

I always have a notebook with me, but sometimes I capture story ideas online. I used to bookmark interesting articles, until I had so many stored that I never looked at them. Since then, I’ve transitioned online links to Evernote with tags to easily search my ideas.

I know writers who love to use Pinterest to keep character boards, settings, and history research in a visually organized way. Others love spreadsheets. Some keep idea boards in their writing spaces.

Find the method that you are most likely to use, and it will save you time as you collect and use your ideas. Then, when you are in the middle of trying to finish a project, you know exactly where to put that idea that keeps interrupting your work.

Revisiting Notebooks for Idea-Mining

Whether you keep your ideas on paper or online, build time into your writing year to revisit your stash.

I used to dump all my notebooks in a jumble in a big bin when they were finished. Now, I put dates on the bindings and keep them in two boxes in my huge bin. Each summer, I make time to scan through the notebooks in one of the boxes, pulling one or two notebooks that have especially promising ideas to develop. Sometimes I just read through them and put them all back.

Online, I tag story ideas in Evernote by genre or fiction element (character, setting, conflict, interesting problem, etc.). When I’m looking for a fresh story idea, I can open Evernote and scan through a tag’s contents quickly.

The Most Important Step

As I shared with my student who was chasing a new idea, the most important thing to do is simply pick an idea and follow it through to completion, one idea at a time, over and over again. A system can minimize those distractions, because you can tell your inner squirrel that the idea is safely lodged in your notebook and will be revisited when it’s time.

Of course there may be times when abandoning a project is necessary, but don’t let your reason be “Oooo, look at this shiny new idea!”

Where do you like to record your story ideas? Share in the comments.

By Sue Weems
Source: thewritepractice.com

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Encouraging Words for Writers: 3 Essential Reminders for Struggling Writers

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There are a lot of things that stop us from writing. Fear of failure, discouragement, and exhaustion are my big three. Sometimes, what we need to push through those barriers is a reminder of who we are and why we do what we do. We need someone to come alongside us and speak encouraging words for writers.

We need to be told again the stories that have led us to the place we are now.

3 Encouraging Reminders for Writers

On the wall of my office, I have a collage of quotes and pictures that have inspired me. Each quote represents a story from my past. I read over them whenever I need a boost of encouragement (which is at least once a day).

These encouraging words for writers are a wonderful source of strength for me. Many of the quotes on the wall are from friends and family who had the right words for me at the exact right time.

Here are three I lean on regularly to get me through rough patches.

1. “Work the process.”

My mentor said this to me at a moment when I was completely lost.

Things at work were falling apart. Several projects had started to break down at the same time, another staff member had verbally attacked me in a staff meeting, and I was being accused of something I didn’t do. On top of that, the organization I worked for was in financial trouble and I wasn’t sure we were going to turn things around.

I called my mentor to ask for help because I had no idea what to do next. We sat in an empty hallway in the basement of the building. It was late and everyone had gone home. Leaning against the painted cinderblock wall, I explained to him in detail everything that was going wrong and all the extravagant plans and drastic measures I had designed in my head that would turn things around.

After hearing me out, he said, “Work the process.” I asked him to explain.

“Don’t do anything extravagant. Don’t take drastic action. There are processes in place. Work the process.”

Often as a writer, I work myself into a dark place. I begin to feel like my writing is worthless. I grow discouraged and lose focus. I find a thousand things to do instead of writing the next chapter.

When I get in that head space, I remind myself to “work the process.”

There is a process to my writing. I write after my family has gone to sleep. I sit at my kitchen table with my laptop, a drink, and a notepad, I skim the last chapter I wrote, I look at my outline, and then I write the next chapter.

When life is hard and I don’t feel like writing, the process keeps me focused and moving in the right direction.

It’s not extravagant. It’s not drastic. It is mundane and routine; and when things get hard, that’s exactly what we need.

2. “No one is going to die on the table.”

I wasn’t prepared for the pre-med course load I took on my sophomore year of college.

My freshman year, I’d been a music major. Since the classes were mostly about performing, I’d been able to wing it with a minimal amount of preparation. Instead of working hard in the practice rooms each day, I learned to play racquetball and became a regular on the basketball court.

Predictably, my disdain for practice made it clear to me and my teachers that I wasn’t going to cut it as a musician, so I decided to pursue one of my other interests, science. While I loved the classes, I was not prepared for the amount of studying that was required.

By the time I got to my midterms, I was way behind in multiple classes.

The night before three tests, a group of friends who were in class with me came over to study. We blew through our biology and chemistry notes in our first three hours together and I felt good about my prospects in the morning.

A little before midnight, we began studying for physics. I hated physics. Sitting at my small round kitchen table, my friends rattled off formulas, made up problems for one another, and answered practice questions with ease. I, on the other hand, was completely lost.

After an hour and a half of trying to “get it,” I excused myself from the study session, claiming I needed to get something from my bedroom. Hiding in my closet so no one could hear me, I began to cry. I called my dad and explained through tears what was happening. I was sure I was going to fail the test and it was too late for me to do anything about it.

After calming me down, he said several things to me that night that have stayed with me. One of which was, “Listen, if you fail tomorrow, no one is going to die on the table.”

Dad was a surgeon who primarily saw high-risk patients. When someone got to him, it was life-or-death. If he messed up or came to work unprepared, someone might literally die on the table.

The words he gave me that night were a fantastic reality check that I’ve used again and again. They’ve helped me take risks and push through fear. When my fear of failure begins to slow me down, I remember sitting in my closet and getting a good dose of perspective from my dad.

Through the years, fear has stayed with me. It is the greatest enemy of writing. Many nights I will sit down to write a chapter and hear fear in my ear whispering, “You’ve got nothing. You’re not a real writer. Stop kidding yourself. You’re going to fail.”

When that voice comes around, I remind myself of the stakes. If I write a terrible chapter, no one is going to die on the table. I’ll just erase it and try again tomorrow.

Having a refreshed perspective helps me move through fear and write.

3. “The tension is good.”

It was after midnight. My friend and I were alone on the second floor of a bar. On the table in front of us were stacks of meeting notes and ideas we’d sketched out together over the years. We were drinking coffee, talking about a non-profit we were both serving, and dreaming up ways to solve all the organization’s problems.

There were some amazing things happening in the organization. We were seeing real breakthroughs in the community we served and people were being helped.

At the same time, we could feel the organization hadn’t reached its full potential. We knew what it could be, but we weren’t sure how to get it there.

We thought that maybe, if we tweaked this one process, or increased our effort in this one area, or redirected resources to this other direction that we would see a breakthrough.

Caught in the tension between the good we were doing and the good we wanted to do, I began to complain. I whined about wanting the future to arrive already, and how I didn’t want to have to wait for changes to take hold.

After I finished another pointless rant, I remember my friend smiling at me and saying, “Don’t rush it. The tension is good.”

He was right. If we had made the changes right away that I wanted to make, we would have failed. Things that looked like a good idea at that moment were actually terrible ideas. Moving slow and making careful and strategic changes helped us see different paths and solutions that weren’t immediately apparent.

As a writer, I often find myself with a problem I can’t fix easily. For me, it usually has to do with plot. I’ll work myself into a hole in my story that I can’t get out of.

Weighed down by exhaustion, my gut tells me to just ignore it, hope readers won’t notice, and rush to the end. I tell myself, “Just publish it and move to the next one.”

Unfortunately, I’ve learned the hard way that readers always notice.

The phrase “the tension is good” has served over and over again to remind me that some problems need to sit. They can’t be solved right away. Instead, they need to be thought through because marinating in the tension will produce a better result.

Encouragement for the Journey

Those are three of the memories that bring me inspiration and encouragement. When I’m stumped in my writing, overwhelmed, afraid, or all three at once, these encouraging words for writers remind me that I will make my way through.

No, my writing isn’t perfect. But the process works. No one is going to die on the table. And the tension is good.

When you hit a rough patch, what encouraging words for writers do you lean on? Let us know in the comments.

By Jeff Elkins
Source: thewritepractice.com

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Healing From Shame: How to Overcome the Insidious Cause of Writer’s Block

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Every time we sit down to write, our mood and state of mind affect our words. We infuse, to some extent, everything we write with our unique “voice.” Our emotions come through on the page.

When we’re struggling to eke out even a few words and make sense of our writing, it shows in our work. Our characters are flat. Our scenes are dull and passive. Our plot is thin and weak. Nothing we try fixes the problems. Or, maybe words don’t come at all.

We may declare that we have a case of writer’s block, particularly if we’ve wrestled with the vexation for weeks or months. But, there may be a stronger and more insidious obstacle: shame.

What Is Shame?

The kind of shame that can affect your writing is invasive, corrosive, powerful, and debilitating.

Shame is beyond embarrassment and sadness, although both may be present. It’s beyond writer’s doubt. It tells us we are defective and unworthy of joy, happiness, and reaching our goals. It’s the gnawing feeling in our solar plexus that we’re not okay, and anything we do is not okay. We feel as though we are a mistake rather than acknowledging that we made a mistake.

Shame can exacerbate or bring on depression and anxiety. I have lived with depression and anxiety my whole adult life, and I realize they can render me emotionally raw or destitute. These conditions magnify and intensify when I’m wrestling with my imagination. Combined, they mix a recipe that can shut me down for days.

Writers and Shame

When we feel helpless and vulnerable, our writing can take on a tentative and cautious tone. We may be afraid to write with honesty, thinking we’re too exposed or that our writing could harm others. That struggle to write can feel like writer’s block.

We don’t lack imagination. Rather, we lack self-compassion that allows our imagination to shine through.

Having self-empathy helps us see ourselves as we truly are and acknowledge that everyone is imperfect and makes mistakes.

Conversely, we may say on the page what we can’t openly verbalize. Creative writing, whether fiction or nonfiction, can provide an outlet for pent-up emotions. Passion-charged words act as release valves for the writer and have a ring of authenticity and strength.

But, we must take care not to get stuck in an emotion which then drives all our writing.

Perhaps every scene is punctuated with anger, frustration, sadness, or desperation. Even tender, nurturing, quiet scenes somehow sound angry. Or, maybe, every scene sounds flat and emotionless because we’re avoiding confrontation with strong emotions within us.

It may be time to check our emotional state. This goes deeper than simple writer’s block. We can’t manage what we don’t know exists.

What Can We Do About Shame?

There are four powerful strategies for addressing shame.

1. Take steps to recognize shame

We first must acknowledge that the presence of shame is a possibility. We recognize the shame by looking at painful experiences in our lives, how we’ve coped with them, and the ways they continue to affect us.

Shame can show up in our lives as overeating, sleeplessness, outbursts, smoking, drinking too much, or using illicit drugs.

It may shut us down, or we may become super busy as we attempt to mask painful feelings.

It may wreak havoc on our relationships.

By bringing shame to the forefront, we can begin to deal with it.

2. Realize you are okay

Second, accept that there’s nothing wrong with you.

If you experienced an act perpetrated against you, know that you’re not at fault. You are dealing with the aftermath of emotional devastation.

Most of our life experiences are beyond our control.

Distraction activities may make us feel worse than before we engaged in them.

If you acted in a way that harmed someone else, know that you did the best you could at the time and try to find a way onto the path of self-forgiveness. Beating ourselves up compounds the pain. You may have to contend with the consequences of your actions, but you now can view the episode from the vantage point of humility.

It’s crucial that you know, really accept, that you are a precious, worthy human being.

3. Talk about it

Third, enlist the intervention of a professional or a trusted, supportive, nurturing person — psychologist, counselor, mental health therapist, minister, rabbi, priest, spiritual director, or trusted friend or relative. We must confront the shame in a process that works for us, but we don’t have to do it alone. Check resources in your community for the type of counseling you need.

I regularly meet with a psychologist to sort through the pain of trauma and the resultant emotions. I have, in the past, consulted with a spiritual director as well. They help me gain clarity and a sense of empowerment. They act as mirrors for me and see what I can’t — I’m too close to my own stuff.

4. Write about it

Fourth, writing about the experience helps get it out of our head and in front of us where we can examine it without judgment.

You already have a set of tools and techniques in your writing arsenal. These strategies come in handy for journaling.

Ask questions to get started. What am I feeling right now? What do I want to do about it? If I choose to act now, what are the possible outcomes? How can I work through this? These questions will generate others.

Our journal can be as simple or as elaborate as we like. I have a favorite brand of leather-bound, lined journal that has 384 cream-colored pages, each graced with a fleur-de-lis at the bottom. I journal daily and have hand written over 7200 pages since September 8, 2002. I note the date and time of each entry. I use different colors of ink to enliven my writing and add an extra dimension of focus.

You can also journal in a word processing document on your computer or use one of several online journaling programs and apps.

Journaling helps me name the problem, identify the components and my emotions, and release strong feelings. It helps ground and center me, and is an excellent complement to my therapy sessions. I often discuss a journal entry in therapy, and I just as often journal what we discussed in a session.

Consider your threshold for safety when journaling. Protect it and keep it as private as you need to. Show or discuss it with other people according to your comfort level.

Freedom Beyond Shame

Working through the layers of shame can be rewarding and powerful, though neither simple nor easy. The time spent can open avenues and vistas beyond imagination.

Approaching shame with an attitude of healing, rather than trying to fix what happened, will support you and help sustain your efforts. As you overcome shame, you’ll overcome the associated writer’s block, too. Your stories — and your life — will be all the richer for it.

All the best to you as you explore the shame in your life. You and your writing are worth it.

What are some techniques you have for working through strong emotions that act like writer’s block and threaten your writing? Let us know in the comments.

Source: thewritepractice.com

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Setting of a Story: 3 Ways Going Outside Can Improve Your Writing

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Our job as writers is to transport our readers into our stories. A high-octane plot and three-dimensional characters are obviously necessary to accomplish this goal, but so is an immersive setting of a story.

The setting of a story is often overlooked when describing a scene. We all want to move on to the next plot twist and wasting important space on what trees look like will just bore the readers, right?

Wrong.

To draw readers fully into a scene, we need setting. We want them to forget they’re reading and make them experience everything our characters are experiencing.

Sometimes, you can get away with building the setting of a story straight from your imagination. Sometimes, you can’t.

The Argument for Going Outdoors

I’m what you would call an “outdoorsy person.” I love being outside in any weather, at any time of day. Nature inspires me, clears my head, and gets me out of my desk chair for a little while.

You don’t have to be a nature person to get the benefits of absorbing your surroundings. And you don’t have to live in the middle of the woods to write about the outdoors. Even sitting on your porch or taking a quick jaunt around the block can infuse you with new energy and enthusiasm.

3 Ways to Be More Present

Okay, you’re outside, standing on a hill, looking at the sunset. Now what?

We’re constantly surrounded by everything we need to build a great setting of a story, but we often ignore all that in our rush to the next thing.

Pay attention to your surroundings. Immerse yourself in your own experiences, and you’ll be able to draw on them later.

NOTE: I’ve used a rural setting as an example, but this applies to urban settings as well.

Here are three things to think about while outdoors:

1. Your Senses

You already know the importance of using all five senses to improve your writing, but it can be hard to notice anything deeper than the obvious.

Let’s take our sunset example from earlier. It’s obviously gorgeous, and you can probably describe the colors of the sunset quite well.

Look deeper.

Close your eyes. Can you hear someone crunching through the woods in the distance? Songbirds? Traffic? The woman walking her dog across the field: Is she slumped from cold or fanning herself from heat? Young, old, talking on her cell phone? Is she attentive to her dog or zoned out? What does the air smell like? What does the ground feel like?

Pay attention to the less obvious and you’ll draw in your readers.

Remember: You don’t have to use all five senses in every description. Select the most useful senses for the scene.

PRO TIP: Try observing the same setting at different times of day or during different seasons.

2. Similes and Metaphors

Similes and metaphors add layers to your prose, allowing the reader to experience a deeper understanding of the setting. They also allow you to enhance character description and plot, establish mood and tone, and can cut down on overly verbose descriptions.

When you’re observing your surroundings, don’t just note the sensory details around you, but think about comparisons.

Right now, I’ve got a pile of snow outside my house that’s mid-melt and looks like a Smurfs hat. See, I didn’t have to describe the shape and curve of this particular pile of snow in order for you to get my meaning.

Back to the sunset on the hill. You’ve noticed the sunset is purple and yellow. That’s all well and good, but boring. What do those colors remind you of? For me, it’s a bruise, which enhances other aspects of my story, as my main character has just been betrayed by a friend.

The sunset swirled with varying shades of purple and yellow, spreading like an angry bruise across the horizon.

The “bruising sunset” is a bit overdone anymore, but you get the point.

Don’t just go with the obvious (aka, cliché) similes and metaphors. Think deeper. Get creative. Have some fun with it.

3. Spying

We don’t all have access to that hill at sunset, and we don’t all want to write about nature. (Though plenty of nature resides in cities as well.) If you or your characters prefer a more urban environment, pay attention to the people around you.

Yes, I’m giving you permission to spy.

I once encountered a middle-aged man decked out like a hippie browsing outside an antique store. Long gray hair, bellbottoms, bandana, smelled awful. He was so out of place, I just had to linger near him for a moment. He was chatting on an iPhone about his investments while thumbing through art prints. The whole situation stunned me.

To this day, he is still the most fascinating person I’ve ever seen. I possibly would’ve noticed him without consciously spying, but I wouldn’t have moved closer to hear his conversation.

No matter what you’re doing, pay attention to the people around you. What are they doing? How do they walk? Noting mannerisms can add layers to your characters. Are they talking to someone? What are they saying? Snippets of conversation can spawn an entire chapter idea, and introduce you to better dialogue.

Try not to be creepy, though.

Immerse Yourself

The setting of a story is just as important as other aspects of your writing. In order to establish an immersive setting for your readers and not rely on overused descriptions, you need to go outside and experience your surroundings. Observe. Take note.

Be present in your setting and your readers will be, too.

Any other tips to immerse yourself in outdoor settings? Let me know in the comments.

By Sarah Gribble
Source: thewritepractice.com

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