WD Publishing

Learning your craft

Brittiany

Every author wants to improve their craft. Here’s a few tips on what to do.

Write a lot. Write on a schedule. Write different things, different forms, different stories. One editor used to say to set a goal of writing one short story a week. If you do that, at the end of the year you’ll have 52 short stories you wouldn’t have had otherwise.

If it’s early in your arc as a writer, by the end of the first year, none of those 52 stories are likely to sell, but during that year you will have learned a lot about the art and craft of writing. And probably learned a lot about yourself as a writer.

Keep with that schedule, and at the end of the second year, you’ll have written over one hundred stories. By this point, you may have produced a few stories that have a good chance of selling and learned more about writing than you’ll ever learn in any sort of writing program.

Read a lot. Read different genres, different formats, by different authors. If you write mystery, read romance. If you write humorous, read serious stories. Pick apart the story, analyze the characters, their actions, their emotions. Are they realistic?

And most of all, don’t stress the small stuff. Writing should be fun, fulfilling, and something you enjoy doing. If you’re struggling with a story, set it aside and start something new.

Creating Characters that Live and Breathe on the Page

Brittiany

Why do we need to describe our characters? Because we do not want them running around invisible and naked within the pages of our story. We need strong multi-dimensional characters that readers can empathize with. As humans, we are not one-sided stick people. It is our desire to create characters in our own image, so why not make them all diverse individuals.

 

Ways to create and build your characters:

  • Personality: Review their personality traits: what has influenced their personality? Cultural factors, psychological factors, biological or genetic factors, or environmental factors? How did they grow up? Giving characters specific personality traits will help build their backstory.

 

  • Appearance: Describe what they look like and the clothes they wear: what is a unique piece of clothing that is specific to them, but not to the to other characters? Do they wear a hat, specific jewelry, different shoes? This will make them look unique on the page.

 

  • Dialogue: Some dialogue phrases can be specific to only one character. Of course, you’ll have dialogue to move the plot forward, but certain phrases can be used to express character’s opinions and show how they respond to stress.

 

  • Dialogue Tags: A dialogue tag is a physical response used before or after dialogue. It helps show body language. This is very important in creating characters. It helps add emotion to the pages. A dialogue tag does not need to be used on every line of dialogue but layered in gently with body descriptions readers can see.

 

  • Thoughts: If sharing thoughts with readers, this is a way to show their innermost feelings without the characters sharing their true thoughts with the rest of the world. Are they scared? Lonely? Do they have to put on a mask every time they are with other characters. If so, why?

 

  • Flaws: No one is perfect, and characters aren’t either. What are some of their flaws? Physical, emotional, psychological. This is another way to help build backstory.

 

  • Motivation: What makes them tick? What is their passion?

 

Exercise: Think about someone you love. Now, think about their strengths and weaknesses, phrases they always say, ways they can make you laugh or cry. Now, write down 4 unique things about that person and be sure to include one of each of the following—personality trait, physical trait, dialogue phrase, and a dialogue tag.

 

Remember, strong characters can carry a strong plot. Strong characters can carry a weak plot, but weak characters cannot carry any plot.

 

Copyright (C) 2018 by Written Dreams, LLC.

The Do’s and Don’t’s of Dialogue

Brittiany

 

If dialogue is written well, it can move the story forward while fleshing out your characters. It is meant to be used as a break for readers from reading long passages of narrative and add description to the scenes in a different way than narrative prose.

 

Do:

  • Do use the words: says, said, ask, asks, asked, asking

These words are transparent to the reader, meaning the reader can move along in the story without seeing these words. Said and asked, especially, don’t stop a reader.

  • Do use physical tags to show what the character is doing during dialogue. It will add emotion to the story.
  • Do use a saidism tag every 2-3 lines of dialogue between 2 people. If more than 2 people are speaking, be clear who is speaking on every line to avoid reader confusion.
  • Do use the five senses in dialogue/dialogue tags.
  • Do use he/she in place of the character’s names.
  • Do put each character’s line of dialogue on a separate new line.
  • If starting a new scene/chapter with a new character in dialogue, use their first and last name in that first line of dialogue so the reader knows who is speaking.
  • Do use punctuation in dialogue.
  • Do look at/read/review another author’s dialogue.
  • Do your research on the character’s backstory/history if you want them to speak with an accent or in a dialect you don’t use yourself. Use words like Scottish brogue to describe their conversations.
  • Do use contractions in dialogue. Write dialogue the way your characters would speak.
  • Use a combination of dialogue, thoughts, physical actions, and the five senses for well-balanced dialogue.

 

Don’t:

  • Don’t overuse saidisms that aren’t said/ask. Why? Because the reader will think the conversation is important and keep it in their head. If you’re constantly using these types of words in dialogue, it’ll be difficult for the reader to keep track of all of those important conversations. Instead, use these words sparingly and for emphasis. Example: stated, commented, agreed, inferred, whispered, yelled, argued, answered, replied, etc.
  • Don’t overuse profanity. Only have a character curse for emphasis on a rare occasion. If overused, it loses its importance.
  • Don’t have more than 4-6 lines of dialogue without any saidism tags. It will be confusing for readers to follow along, making them frustrated and want to put the story down.
  • Don’t run dialogue from multiple characters in the same paragraph. Each line of dialogue by a new speaker should be on a new line.
  • Don’t use the word speak/spoke for every line of dialogue. (See #1.)
  • Don’t try to write a character speaking in an accent or different dialect—unless you have studied it for a very long time. Accents/dialects/slang are very hard for readers to follow. Use sparingly.
  • Don’t forget the punctuation.

 

Copyright (C) 2018 by Written Dreams, LLC.

Passive Words to Avoid Using While Writing Your Novel

Brittiany

“Read. Don’t chase trends. Read. Set a daily word count goal. Read. Anything “writerly” counts as working. Critique partners help IF they’re good.”

—Terry Odell, Award-winning author of the Blackthorne, Inc. series

 

Passive Words to Avoid

Adverbs: All words ending in “ly” —quietly, softly, energetically, etc.

Always: Unless using it in dialogue or with emphasis that something always happens.

Like: Any phrase beginning with like is most times telling the reader instead of showing them.

Just: Unless using it in dialogue or with emphasis that something just happens on occasion. Be careful, though, that a lot of things just don’t happen.

Only: Unless using it in dialogue or with emphasis that something only happens on occasion.

Pretty: Unless using it correctly in reference to something being beautiful.

Seem: Every form of it—seemingly, seemed, seems.

 

Passive Words to Use on Occasion

Even: There are times this word is necessary, however, reread the sentence to see if you can rephrase it.

Saidisms: Stated, commented, argued, etc. Use said and ask for transparent dialogue tags.

That: There are times that can be deleted out of the sentence and times it’s needed for the sentence to work. Read the sentence out loud if you’re unsure if it’s needed. 80% of the word that can be deleted in a manuscript.

Which: Be sure you know when to use that and when to use which. These are words misused on a frequent basis.

 

Crutch Words

Every writer has a few words (adverbs/verbs/adjectives/phrases) they use A LOT. Search your manuscript for words that appear frequently in it, and see if you can 1) replace it with a synonym, or 2) delete it altogether in every sentence. You may have several crutch words. If you have more than 20 uses in your manuscript, it could be 18 uses too many.

Challenge: See if you can delete all of these words from your writing vocabulary.

 

 

Copyright (C) 2016 by Written Dreams, LLC.

 

Writing a Book Review with Nathan Hopp

Brittiany

We asked Nathan Hopp to give us some feedback on writing book reviews. He started the Reader’s Boulevard Review Blog a few years ago, and has a few thoughts on how to write a fair review. Enjoy! 

Everyone likes to be a critic.

It’s a truth as real as the beliefs we carry. As a critic you feel entitled to judge everything in either an analytical or enjoyable outlook. You’re giving your opinion on someone’s work, which has changed and evolved over time. In this digital age of social media, blockbuster films, and the Internet, more people prefer visual entertainment over the written word. Therefore, it can often be a challenge to review a random book in an honest, constructive manner. Personally, I like to judge a novel on its most basic objective that anyone can agree on: if it can entertain while leaving an impact.

Now this single objective isn’t black and white. There are dozens of books that can inspire without having good plot, characters, etc. or even vice-versa. When reviewing a book, I dislike judging it with the mindset that it is a masterpiece. No novel is perfect, and no novel will appeal to every single person on the planet, so I keep an open mind on the targeted demographics it’s likely aimed for. If you’re usually a contemporary reader but not a fan of historical fiction, don’t negatively judge it solely because you aren’t fond of the genre. Everyone has different tastes, so a reviewer shouldn’t hate something solely because it isn’t a genre or type of story catered for them.

For me, I can read almost anything, whether it be contemporary, young adult, fantasy, historical, or hardcore sci-fi. However, my favorite kind of novel is the one that has a plot where you don’t know where it’s going. It has memorable characters with personalities that keep you engaged (especially if the story’s tied to their struggles), a setting fascinating enough to explore if they existed, writing crisp and fluent enough to make you feel like you’re experiencing what’s happening on the pages, and a villain you love to hate or even sympathize with.

Like I said though, this can go either way in books. One could have a fantastic plot and bland characters while another might have an incredibly complex villain and a weak setting, maybe even vice-versa with any of these varieties. It’s all subjective in the eyes of the reviewer, and it’s not a bad thing to hold in regard. Listen to others’ opinions, whether they be the reader, the critic, or even the author themselves. In the same way anyone can be a critic, so can anyone have the privilege to decide what makes a book entertaining.

About the Author:

Born in Green Bay, Wisconsin in 1996, Nathan Hopp grew up the oldest of three rambunctious brothers. As a child, he inherited his love for literature from his mother and his love for science fiction/fantasy from his father. He has been a dedicated bookworm since grade school, reading through corny romance novels one hour to an entire Young Adult series in less than a week. In high school, Nathan’s interest grew into writing, eventually leading him to haikus, short stories, vignettes, and novels. Currently attending UW-Eau Claire as an English major with an emphasis in Creative Writing, Nathan spends most of his free time as an avid participant in the furry fandom, surviving one semester at a time, and running a review blog. Learn more about Nathan and his book on social media: Facebook.com/NathanWHopp or at Twitter.com/HoppNate.

Resurfaced by Lexi Jordan

Brittiany

Family fights for family. That’s what Max Ryan believed and what she stood for. So how come in this new world, it’s not the easiest thing to do? If Max Ryan doesn’t act fast, living in an unfamiliar world could kill her.

After a series of nuclear power plant explosions seventy years ago, it caused the end of all civilization. Humanity is extinguished, except for the few that manage to escape to a bunker below the surface built to survive a nuclear war.

Throughout the years, these people create a community known as the Burrow within the bunker, but lifespans are shorter than what they were on the surface. The community is dying with lessening food supplies and unreliable water sources. The governing officials of the United Assembly handpicks a select few to travel to North America to find habitable land.

Max Ryan, along with her twin brother, Jax Ryan, are selected for the team. Together, they discover a place far beyond their dreams. However, it’s soon revealed to them that not all dreams are what they expect; sometimes it can be a nightmare.

A Conversation about Writer’s Block

Brittiany

Thank you to D.A. Kori Prier, author of Colorado Drift for writing this blog. In a conversation between two writers who are discussing Writer’s Block, one writer realizes how they have to change. One writer is a “plotter” (someone who outlines and organizes their manuscript before/during the writing process) and the other writer is a “pantser” (someone who writes by the seat of their pants). Both paths work, but sometimes, you need to change your process for a certain manuscript in order to get past a block.

 

Wow, so you’re a writer huh?

Yep.

I’m writing too, but I’m in a funk.

Yeah, why’s that?

I’m stuck. I’ve got Writer’s Block. So, you ever get blocked?

Nope.

Really, how do you keep from losing your train of thought?

I prepare.

What do you mean? How do you prepare?

Well, first I do a shovel full of research on my topic.

So, you research everything?

Not quite everything, but most of the story’s plot.

Then what do you do?

Well, I organize the research into an order that formulates into my plot.

Really?

Yep. Then I write an outline of the story with all the parts (research and ideas) flowing through my diagram. This way, I know where my story is going and what I have to write next. I can always adjust the outline if something doesn’t fit or if I come up with a brilliant idea.

And this works for you?

Yep.

Would it work for me, too?

Yep, but you have to be disciplined and do the research, organize your thoughts, and outline your plot.

It sounds like a lot of work.

It is, but it keeps my creative processes juiced and always flowing. Besides, how long have you had your Writer’s Block?

A couple of weeks now.

Well, in two weeks you could have done most or all of your research and developed an outline.

I see your point. I think I need to start doing a better job than just writing from the top of my head.

Good for you.

 

We all get stuck once in a while. Here are a few things you can try to help yourself get out of Writer’s Block.

  1. Get away from your story. Find a hobby and relax. Avoid thinking about your manuscript. As your body relaxes, your brain will, too, and it will naturally figure out the problem you are having with the plot—if that’s the reason you’re stuck and getting Writer’s Block.
  2. Set up a writing routine and do it every day, 6 days a week. Structure will help form positive habits that lead to positive creativity.
  3. Work on your research. A new idea could strike. Changing your process techniques could help the flow of ideas.
  4. Talk your problem out with a writing buddy or an editor. They may be helpful in getting you to the root of the problem.
  5. Go on vacation. Take a few days and do something you’ve never done before or go somewhere you’ve always wanted to go. Get away from the stresses of everyday life for a few days. This could help your creative process because you’ll be experiencing different emotions through your new experiences.
  6. Laugh. Spend some time with someone who makes you laugh. Laughter will help release tension.
  7. Pamper yourself: see a massage therapist, get a manicure or hair cut, or go to a spa. While you’re focused on yourself, your body will naturally relax and you’ll be able to figure out the problem.

 

New Release - Colorado Drift by D.A. Kori Prier

 

D.A. Kori Prier was born and grew up in the two-mile high town of Leadville, Colorado. Now retired, he lives in Northern California with his wife, Snuz. Colorado Drift is the first book of a new series. Mr. Prier’s extensive knowledge of the mountainous geography lends credibility to the story and makes the adventure feel real and possible. Kori and Snuz enjoy traveling with their three four-legged girls: Becca, Tessa, and Bella.

 

Colorado Drift takes the reader on a snowy, modernistic science fiction adventure inside a Rocky Mountain avalanche.

 

If you found this article helpful, please share it with your friends who may find it useful. Thank you!

 

 

Thanksgiving Day: An Excerpt from News from Lake Boobbegone

Brittiany

Sometimes we need to look back at where we’ve been to move forward in life and in our hearts. Here’s an excerpt from Carolyn Redman’s News from Lake Boobbegone: A Breast Cancer Memoir from the Heart which became a #1 New Release in April 2017.

November 27, 2014,
Thanksgiving Day

 

So, these are the top ten things I’ve had to let go of this year: (1) my left breast, (2) 15 lymph nodes, (3) all of my hair, (4) my immune system, (5) my idea of beauty, (6) the illusion of control, (7) cocktails, (8) a plethora of tears, (9) a few extra pounds, and (10) wondering why me.

My last radiation treatment, or as I liked to euphemistically call it, “light therapy,” took place on November 10th. But even weeks after the treatment ended, radiation had left me looking and feeling like I’d been microwaved on high for far too long. Next to the mother of all sunburns, the emotional fatigue of daily treatments was probably the worst of it. I had been living “cancerously” for nearly a year now, and it had taken all of my resolve. Unlike chemo, I had to face radiation therapy on my own. No one could go with me, hold my hand, or sit by my side and distract me from these treatments. I had to dig deep and find even more strength I wasn’t sure I could muster.

The “mean wells,” my term for people who say dumb stuff unintentionally, keep reminding me how great things will be once I get back to normal. I don’t see how that is even remotely possible. I am missing a body part, have been infused with drugs potent enough to damage my heart and make my hair fall out, have been microwaved on high for 30 consecutive days, and as an added bonus have been chemically catapulted into menopause. And those are just the physical ramifications. Mix in equal parts anxiety, fear, and sadness, and the cancer train I’ve been on misses all the normal stops. What a disappointment and missed opportunity it would be if, after all of this, I turned out to be the exact same person I was before I was diagnosed.

I can’t quite go as far as to say that I am grateful I was diagnosed with breast cancer, but I can say that I am grateful for all of the realizations that have resulted because of it. I was given the opportunity to tap into a reservoir of courage I didn’t even know existed. I witnessed people at their best as they surrounded me with their clinical, surgical, and scientific expertise, genuine concern, humor, compassion, energy, and love. The word friendship took on a whole new meaning with each chemo sitter who took time out of her busy life to sit with me for hours on end. And I found out that my marriage was indeed for better or worse.

This Thanksgiving would be like no other because I finally understood the importance and power of gratitude. I had gained far more than I had lost this year and for that I was extremely grateful.

 

News from Lake Boobbegone by Carolyn Redman, copyright (C) 2017 by Carolyn Redman.

 

The Force Behind Writing Groups by Bruce Kirkpatrick

Brittiany

A few tips from Bruce Kirkpatrick on being a member of a writer’s group.

I’m a member of four groups and each works differently. Here’s what I’ve learned about writer’s groups and if you are a writer, why you may want be a part of one.

Both new and seasoned writers are often members of writer’s groups. No hard and fast rules exist about how they work, but a few tips to get the most out of them might help.

Groups can meet in person or online. They can require that members trade “chapters” or work beforehand—or not. They can read aloud or simply offer critique in the written form. They can be full of published authors or those just getting started.

 

  1. If you attend a meeting, it forces you to write. No better way to get to work than to have somebody ready to read it.  One of the groups I’m involved with has over 270 members, but only 10 to 15 come to meetings regularly and read. Those are the more serious writers.
  2. It forces you to edit. Nobody wants to read work that is weak. By the time I read something in front of the group, I’ve edited it at least several times. That makes for better writing.
  3. It forces you, in many cases, to read your work out loud. That’s a key to better structure, phrasing, and dialogue. If your group doesn’t read aloud, you can always incorporate that into your editing practice.
  4. Groups force you to toughen up. Most groups offer sound criticism, delivered in a positive manner. One of my groups start the critique with what we liked, then move to how the writing could be better. It can always be better. You need to hear that, continually.
  5. They force you to meet and work with other writers. Writing can be a lonely passion but there is enlightenment in numbers. You’ll pick up great tips, habits, and skills working with like individuals. You may even use the group to connect you to others in the profession that can push your career forward. It’s a great place to network.
  6. Writing groups will force you to be a better writer. If you stay connected, and keep writing, your work will improve. You may not be the next Hemingway, but it’s a start.

 

That said, in my experience, writing groups have little knowledge about getting published. They are all about the writing. My groups don’t include many published authors, so the how-to-write-for-publication is a glaring hole. Most writers will do better reading the books about writing—Stein, Gorkin, Browne & King, George—than trusting inexperienced writers.

But you have to start someplace and a writing group will force you to write, edit, and receive feedback. If you’re a beginning writer or want to write for your own pleasure, it’s a good place to start.

 

Bruce Kirkpatrick is the author of Hard Left and Lumberjack Jesus. He is currently working on several different writing projects. To learn more about Bruce and his books, you can visit: http://www.bkirkpatrick.com/about/

 

At Written Dreams, we believe writers who take part of writer’s groups can be very successful. We will often suggest joining the local chapters to new writers because we believe in the benefits. Here in Green Bay, WI, we’re lucky to have a few groups that meet locally. If you’re looking for a writer’s group in your area, here’s a few associations you can start your search with, depending on the genre you write in: RWA-Romance Writers of America, HWA-Horror Writers of America, SFWA-Science Fiction/Fantasy Writers of America, CWG-The Children’s Writer’s Guild, NAMW-National Association of Memoir Writers, and many more!