Writing a Story is Like Learning to Cook

You know that moment, when you taste something amazing? Maybe you're at a restaurant, or it's one of your grandmother's famous recipes. When you finish eating, you look down at your empty plate and you think, "I have to eat this again."

There are ways to make this happen. You can keep coming to the restaurant, you can beg your grandma to make more, or maybe... just maybe... you can make it at home. 

When that thought enters your mind, you have to assess your time, your talent in the kitchen, and how difficult the recipe will be. Do you have the patience? Can you figure out the ingredients? Will you ever be able to make something that tastes this great?

When you have complete control over what goes into the dish, maybe your creative side goes a little crazy. "You know, it could be really good with fresh mint... Ooh! Or basil!"

But you need to be careful. Too much creativity can get in the way of what you're really trying to achieve: yummy culinary goodness.

Weaving a good story is like nailing the recipe that has haunted you ever since you tasted it.

Like cooking, writing a story can be dangerous if you don't balance knowledge and creativity. You don't want to wind up with cheesy-banana trout. You want your readers to get joy from your book. You want make a book that's magical, the way other authors have done for you.

But if it's not fun, you're probably doing it wrong. When I stress out about a book, or do so much research my brain hurts, it comes out in my story. The characters get boring. The tension falls flat like an under-cooked souffle.

I'm still fairly new at this writing thing. Cognitive psychologists tell us it takes ten years before a writer reaches excellence. I've been going strong for about 6 now. And like my cooking skills, my writing is inconsistent. Sometimes I write something that would make my readers turn green. So I go back, I chop out the rough parts of the story, rearrange some key elements, and beef-up the personality of my characters. I find the weak spots and figure out what I can add to balance the story or make it richer.

The beauty of writing is: the reader doesn't see every draft.

My early draft work is a pile of failed attempts. Eventually, I get something I think is publishable, but there's always work involved that isn't seen by the rest of the world.

No matter what you want to get good at, there's work that goes on behind the curtain.

But if it's something you really want, and if you put in enough effort (and patience and sacrifice), you can make something worthwhile.

Happily Ever After is Hard Work!

In my church, we're called upon to serve in various areas. We don't have a paid clergy. Recently, I was asked to be a part of the youth program. I now work with the young women (ages 12-18) which I absolutely LOVE.

As part of this job, I watch what's called the Young Women General Broadcast where the world leaders of the church speak directly to the young women, their mothers, and the young women leaders (that's me!).

Overall, it was very nice, but President Dieter F. Uchtdorf (second counselor over the entire church) gave a talk that really struck a chord with me. He began talking about fairy tales and all the adversities the characters go through before they reach their "happily ever after".

He went on to talk about how we need the bitter in order to taste the sweet. A marathon runner feels so fantastic at the finish line because of the hours of pain she experienced before. He tells of his personal experiences with heartache as he tried to win the heart of a beautiful girl (and how sweet it was when he did).

I can't wait to look up this talk later. It should be here soon.

But it got me thinking.

We all suffer. Some more than others. And sometimes we feel very much alone. President Uchtdorf encouraged us to turn to the Lord, who knows you so well and is familiar with your adversity.

But, obsessive nerd that I am, I thought about fiction. We're told that a character must suffer in order to be interesting. There needs to be something at stake. There needs to be conflict. Otherwise, what's the point? It's boring.

Why? Don't we strive for easy lives? Wouldn't it be great if our characters could be interesting and carefree?

I think that everyone is looking for their own "happily ever after", but it's not easy. I think, as humans living this life, we like to know that we're not the only ones that have to work for our happy ending. We want to see others overcome adversity and hardship so we can have more hope for our own circumstances.

Sure, a character's hardship may come from aliens or dragons or ninjas, but that just makes it all the better. We're taken out of our own worlds and sent into a new one.

Even in this new world, completely different from our own, there is hardship. There's pain and suffering and struggle. My conflicts seem normal by comparison. They seem more... conquerable.

All characters have to have flaws for the same reason. We lose interest if a character is flawless and wonderful in every way. Because then we can tell ourselves: if that (imperfect) character can overcome her problems, I have a chance too.

Hardship is necessary, in life and fiction. Without it, we can't grow. We wouldn't learn anything, and we'd be helpless as infants. Yes, it's hard. Of course it is. That's the point.

Just remember: the harder you have to work for something, the sweeter it is.

My thoughts on Lesson 2

As you probably know, I'm working through How to Revise Your Novel. I thought it might be nice to provide you with a little feedback on each lesson. I'll share my own personal insights that I glean as I work. Hopefully there will be some gems you can use. You can see my thoughts on Lesson 1 here.

Okay, I admit it. I kinda sorta cheated on lesson 2. I peeked at it before I was done with lesson 1 and decided I could combine them. Lesson 2 is on finding the promises you made to your reader. I got a smallish version of this lesson in How to Think Sideways, so I was pretty confident I could handle it.

I found some broken promises. Not a ton, but a few. I'm not sure if it was because I was familiar with the material when I wrote the last draft, or if it was because I was too focused on lesson 1 stuff. I'm gonna go with the I'm-already-so-awesome theory. ;)

Anyway, I found a character that seems to be very important. He has a name and dialogue and dominates a whole scene. Actually, he's an extra and I need to get rid of him. He's distracting.

Another broken promise: I may have said something about my world I didn't intend to. Well, my character did. She sees a ghost do something and makes an assumption. The assumption was wrong, but it doesn't seem that way. So it's gotta go.

There were a few others, but these were the major ones. (I'll admit I'm embarrassed, but I think most writers do it.)

What about you? Do you find yourself dropping hints about things that aren't there?

Closing In: My thoughts on Revision (Lesson 1)

As you probably know, I'm working through How to Revise Your Novel. I thought it might be nice to provide you with a little feedback on each lesson, so you can make an informed decision about taking the course yourself. I'll also share my own personal insights that I glean as I work. Hopefully there will be some gems you can use.

So I'm still on Lesson 1. It's embarrassing, but to be fair, this lesson is supposed to take a long time. (I'm sure I'll wow you with how quickly I make it through the other lessons.) I should finish lesson 1 in about a week.

I've already told you that I've caught a lot of problems in my manuscript while going through this lesson. Honestly, it's unbelievable. You can read about it here. But today is about specifics.

1) I need to work on pacing and voice. A lot of the inner dialogue coming from my main character is slow. The sentences are long and the structure is old-fashioned. I sometimes sound like I'm writing a term paper. (Thanks a lot, public education.)

2) I need a lot more description. And it needs to be specific. The passages with description are like laundry lists. I need to get into my setting and pick the one or two details that go beyond the basics. I once heard that you should make a list of 10 things your character would notice about a place. Then don't use them. Don't be obvious. Pick something else, something unusual, something that effects your character emotionally.

3) I rush through the good parts. I get so excited about getting to those good scenes. When they finally get here, I rush through them. I'm constantly telling myself to slow down and let everything soak in. One thing I need more of is emotion. These dramatic scenes are pivotal. They affect my character. They matter. So what is she feeling during this big moment of change?

4) My characters don't always progress logically. I mean sure, they act in response to stimuli in a completely "normal" and expected way. But I'm talking long term here.

For example, Rachel and Nathan develop a relationship. Rachel may be head-over-heels for Nathan in chapter 8, but in chapter 9 she's "beginning to trust/like/love him". Really? I thought we were past that point.

I also need help with making sure Rachel has learned everything she needs to know before completing task X. And I need to make sure that the people who help her get that information like her enough to help her. (Did that make sense?) Everything has to line up.

So what I need to do is create arcs for stuff like this. A timeline that shows me (and the reader) exactly where everyone is and how they feel about it. You know, logical progression that continues over the course of the book. Simple stuff, but apparently I missed a few places here and there.

Best Post Ever (Not Mine)

Wow. Just wow.

10 Things I've Learned by Toni McGee Causey is probably the best single article I've read this year. I could just give you the bullet points, the 10 "things" she's learned, but that would take away from the journey.

If you're serious about writing and craft, read this article. It's long and it's worth it.

How to Get Great Ideas and What to Do With Them

Each of us has a creative side. You wouldn't be reading this if you didn't. It's that little voice in the back of your head that throws out ideas. I call mine my Muse and I've talked about her before. (Yes, my Muse is a she.)

I was thinking about what makes my Muse "sing". Typically, if your creative voice is on, your cognitive, logical voice has to be turned off. If you're familiar with right-brain, left-brain research, this is exactly what I'm talking about. Your left brain has to take a back seat if your right brain is going to have any say. (Sometimes transition is pretty quick. There are exercises you can do to help with this.)

So how do you hand the microphone to your Muse? How do you turn off the left brain?
By doing something mundane, everyday, or mind-numbing. Sounds fun, right?

My Muse hates to be bored, so when the left-brain turns off, she steps forward and tries to make things interesting. (This is why TV usually isn't a great way for me to brainstorm. My Muse is already entertained.)

So if I need some good ideas, I have to do something like fold laundry, go for a walk, rake leaves, stare at a blank computer screen, or try to fall asleep. (Unsuccessfully. Usually. I do get some awesome dreams on occasion.)
It's darn inconvenient, but I get my best ideas as I'm drifting off to sleep. (A great reason to keep a notebook handy on my nightstand.) For example, last night I was trying to sleep while my husband was reading with the light on. And a voice came into my head. Not a literal voice, just words that had personality. And the personality wasn't mine. I had struck gold!

Unfortunately, my daughter had run off with my notebook. I didn't go and look for it and of course, I don't remember the whole thing. But I'd like to share my train of thought and the words that I do remember.

I was thinking about how to begin my story. I have a premise in mind and several scenes planned out, so I wasn't starting from nothing. My mind drifted to books that I love. Ella Enchanted by Gail Carson Levine is my favorite and it's young adult fantasy, just like Phantom. Ella Enchanted started just outside the story with the first-person narrator talking about something that happened before the story actually begins.

The other book I thought of was The Lightning Thief by Rick Riordan. I loved this series. It was the series I wish I had written. Anyway, the book starts with Percy (the main character, also in first person) talking directly to the reader. He tells us something about the main theme of the book and beautifully melds his world with ours.

So then I moved back to my book. I'm pretty sure I want to do first person. I write better characters and cleverer detail that way. I wanted to begin my books like Riordan and Levine did.

That's when my Muse sang. (Not literally. I'm not crazy.)

The words for the beginning of my story popped into my head. My memory only recalls bits and pieces, but here's what I have:

My school is haunted. They should have seen it coming, building a boarding school where a prison used to be.

That's all I remember. Sad, huh?

So let that be a lesson to you. It's always worth getting out of your nice warm bed to go get a pen and pad when an idea hits you. Make yourself do it. You won't be sorry.

Dialogue Part 3

Some people go overboard with dialogue. Kate from Author2Author lists a few things to be aware of when writing dialogue including the big one: Dialogue slows pacing!

I recently posted on the Functions of Dialogue. While this post from The Blood-Red Pencil is similar, I love the delivery of this information and the fresh perspective. I think it's worth a read, even if you know the functions of dialogue.

And a few last minute tips:
To use dialogue to create conflict, you can list what each character in the scene wants and try to find two things that don't match up. For example, Penny wants to wear red, but her husband wants her to wear black. This can also help you throw in some interesting situational conflict. For example, maybe Penny's red and black dresses are dirty or stolen or not warm enough for the weather. Suddenly, the two of them are scrambling to make their preferred color dress wearable. (Penny throws her red dress in the wash, while her husband looks for a black shawl to put over the sleeveless dress.)
...Or something. This is just an example off the top of my head. :)

If you find your dialogue is stiff or unnatural sounding, put yourself or your best friend in the character's shoes. What would you say if someone told you XYZ?
If that doesn't work, try listening in on other people's conversation. As politely and discretely as possible. (Note: ONLY do this if your dialogue is too formal. It's not ideal if your dialogue lacks conflict.)

Any other tips? What do you do when your dialogue is stuck?


More on Dialogue

The Basics of Dialogue (and Non-Dialogue)

Writers know about basic dialogue punctuation. Right?


I was shocked to find that in my advanced fiction workshop, several students consistently failed to use proper punctuation and capitalization. I almost cried. I know everyone has to start somewhere, but I had higher expectations for an advanced writing class at a university with such a great writing program.



So, I feel obligated to include this link from Fiction Factor. Aside from punctuation, definitions, tags, and simple dos and don'ts, it includes a few simple tips for avoiding repetitive tags and a few other things.

If you think you have these basics down, I'd recommend you skip straight to Fiction Factor's post, which has several reminders that I thought were helpful. One tip they mention (that I tend to forget) is:

Unspoken dialogue can, at times, be the most powerful dialogue of all. When a character says the opposite of what she means, or says nothing at all, just looks away. This too is effective dialogue.

There's also an invaluable list of body language cues, divided by emotion, that I have to include. It's too good not to.

• Angry? Fisted hands. Narrowed eyes. Stiff posture. Clenched jaw. Slashed mouth. Jerky movements. Rough handling of objects.
• Happy? Smile. Wink. Twinkle in eyes.
• Relaxed? Sprawl. Loose-limbed.
• Crowded? Back up. Create distance.
• Interested? Lean forward, draw closer.
• Questioning? Cock head. Widen eye. Elevate voice. Hands lifted, palm up. Hiked shoulders.
• Nurturing? Clip a loose thread. Pat.
• Tender? Stroke, touch, lips parted.
• Nervous? Pace, scratch, rub your arms.
• Stunned? Wide-eyed. Stone still. Hand to chest, fingers spread. Gaping jaw.
• Sad? Tears. Listless. Hand curled to chest. Shoulders slumped. Fetal position.
• Trusting? Palm open.
• Lying? Avoid eye contact. Dipped chin.

More on Dialogue

Dialogue: Make it Matter

Dialogue is difficult for a number of reasons. Some people struggle with making dialogue sound realistic. Others struggle with voice. Still others (myself included) have trouble making dialogue mean something.

I recently had some of my work critiqued. I mean nit-picked. And the biggest problem with my opening scene? Sure, the dialogue was realistic, but it had nothing to do with the conflict that was happening. My two characters were talking about pretty much nothing while something important was going on. Basically, one character was unaware of anything unusual and the other was trying to keep it that way.

I really struggled with that one. To fix it, I put the two characters against each other, one on either side of an imaginary line. (That line: knowing what was going on.) Character A knew there was a ghost nearby, Character B didn't. So, how does that affect dialogue? Character B wanted to know what Character A was staring at, what made her facial expression change, why she was acting different all of a sudden. She wanted to know why Character A kept looking at an "empty" bench.

With these changes, and a few others, I was able to make the dialogue relevant to the scene. The dialogue was tied to the conflict, and was actually useful, because it built tension. That's the key to fiction, isn't it? Tension and conflict.

So, my advice? Figure out what your scene is about. What are you trying to accomplish? What is the main conflict for that particular scene? Make sure your dialogue supports your scene's purpose.

More on Dialogue

Dealing with Rejection, Part 1

Dealing with Rejection - This article is the best I've found on rejection. He covers how to look at rejections, how to keep moving forward, and how to push through the odds in order to get to publication. The second half of the article is written with short fiction in mind, but the principle is still the same: the more you submit, the better your chances.

You can't submit your work to three or four agents, get rejected by all of them, and then think that's the end. Submit to anybody who could be interested. (Don't submit if the agent doesn't want to see your genre. I think this goes without saying, but... it happens.)

Fiction Factor has an article that covers the basics. It has some answers to some simple questions, and it puts rejection into perspective.

How to Get More Writing Done

I'm back from my little experiment. I took off nearly a week from the internet in order to get more writing done.

First, if you think you might want to do this, you need to realize that if you shut down your internet access (and, as I did, your computer access) that a bunch of other things will try to fill in your time gap. I had no idea how many things I wasn't doing. Seriously.

But, not having the distraction of the computer did help my writing. No question. I revised a huge chunk of my book and wasn't pressured by my goal of fifteen pages a day. I hit the mark with ease :)

I was more focused when I wasn't working, too. If I was doing something else, my mind was a little clearer and I could think about my writing and what I wanted to change, and all that good stuff, so I was more efficient when I did sit down to work.

And when I came back? I turned on my computer and sorted through emails, checked (and read) the blogs I follow, checked and replied to a slew of forum posts, checked facebook, etc... all in about three and a half hours! Over the course of five days, I usually spend closer to ten hours doing all that stuff. An amazing time saver, though I may have missed some stuff.

So, I'm halfway done with the hard copy edit of my ghost novel. My goal is to finish by the end of the month, then do my soft copy edit. (Basically, going back and typing in all the edits and notes I made on the hard copy.) That leaves me with querying agents. I should be done with plenty of time to plan my phantom novel for November.

So, my next post will be on revising a manuscript. I've searched for different methods in preparation for what I'm doing now, and I'll share the best of it with you.

Tomorrow. I'm exhausted.

Hope all is going well with your writing!

Endings Are Beginnings - How to Write an Ending for Your Book

I realize that my post about Endings may have been confusing. I found a video that elaborates a little more on how endings should be connected to your beginnings:

What Every Writer Needs to Know About Plot and Structure, Part 4

Beginnings:

Grab your reader with a killer opening line. Some may tell you never to open with dialogue, others will tell you...

well, there's an amusing article (more of a rant) that lists a number of ways you should not start a story. Read A Newbie's Guide to Publishing: How Not to Write a Story.

Joe Konrath makes some excellent points and explains each one (for the most part).

So how should you start a story?

• First and foremost: introduce conflict. Conflict is the bread and butter of fiction. Without it, fiction is boring. If no one in your first scene has a need, then you need to cut that scene. Start somewhere else.
• You also need to show (and I do mean SHOW) your character(s). Just the main ones for now. You don't want to overwhelm your readers with a bunch of characters at once. You do want them to connect to the characters that will be central to your story.
• Show genre in your beginning. If you're writing fantasy, show some magic or paranormal elements to give your reader the right expectations. It doesn't have to be big. I once started a story with a paragraph about a bully with some unusual talents. (Making my heroine's hair stand on end, for example.)
• Sensory details. Imagery. Give the readers details. There's a piece of paper on the counter. Is it rolled up? Folded? How big is it? Is it notebook paper? Parchment? A sticky note? Give smells. (That's a hard one, but it can instantly bring your characters into the setting.) The trick is to provide as much setting in the fewest words possible. If you give too much all at once, you'll boor your readers. Sneak those details in as you unfold the plot, character, and conflict.

Middles:

This is the hard part. The part where all your ideas have to come together, in an interesting way, to set you up for your ending.

You needs lots of conflict here. Make your characters work hard. Make them suffer. I know it's hard, but trust me, as soon as things start to go right for your characters, your readers will put your book down. You need to constantly be stirring the pot.

If you've read my posts on sentence lite, you'll know what each scene (whether beginning, middle, or end) needs: protagonist (that has needs and is interesting), antagonist (who also has needs and is interesting), conflict (how their needs conflict with each other), a setting, and a twist. The twist is something unexpected. It moves the story forward.

In Heidi Thomas' article Prop Up Your Sagging Middles, she discusses some key questions you should ask yourself about each scene.

If you find that your middles are slim and/or your word count is too low, you'll love Dani Greer's article on Plumpers.

Throughout your book, you'll need strong scenes. This is crucial. I have to recommend Holly's Create Page-Turning Scenes Clinic. (Yes, I know I recommend her a lot, but she's the best I've found.)

Endings:
This is where pantsers seem to have the most trouble. If you plan out you novel well, know where your novel's pulse is, and know your themes, then you should already know your ending. All you have to do is write to it.

But, here are some pointers:
Your ending, wherever it is, whatever happens, needs to connect back to your beginning. Somehow. I know it sounds crazy, but it's true. If there isn't a way to connect your ending to the first three pages of your story, then maybe you didn't begin in the right place.

At the beginning, you made your reader a promise. You told them, "This is what the book is about." Now you have to deliver on that promise.

For example, Harry Potter and the Sorcerer's Stone begins with the headmaster and a teacher discussing the fate of the boy who lived. How does it end? The boy who lived fought against the same villain and lived again. Some consider the first chapter to be more of a prologue, but it's still there in the second chapter. Uncle Vernon notices a number of strange happenings that are related to (surprise!) the boy who lived and the celebration of his conquest over the dark lord. Trust me. Your beginning needs to be similar to your ending.

BUT

Your characters need to be different. They need to change throughout the course of the story. Their needs changed, they've learned something about themselves, conquered a weakness, whatever. They can't be the same person they were on page one. Otherwise, there's no point in telling the story.

For clarification, I've posted a video on how endings are like beginnings here.

If you want to read this series from the beginning, here is Part 1 of What Every Writer Needs to Know About Plot and Structure.

What Every Writer Needs to Know About Plot and Structure, Part 3

When I first got bitten by the writing bug, I found an excellent series of articles, the first being: Does Your Novel Have a Heartbeat?, by Holly Lisle.
They're directed at those who already have a novel written out, but it would be helpful, in my opinion, to read them before you've typed 100,000 words and devoted a year of your life to a piece of your soul.

Read these articles, and create something with a heartbeat from the beginning. Create something real and meaningful to you. Love your work before you even start writing it.
You can find the other articles of this series at this page (scroll to the bottom).
Yes, it's a lot of reading.

As if that wasn't enough, I have some free resources for download. These tools (along with others from the same source) have made a bigger impact on my writing than anything else.

Holly's Create Your Professional Plot Outline Mini-Course is a free, completed mini course on developing a plot, starting from any number of places: a character, a twist, world building, a structure (like the ones I listed in Part 1 of this series), or questions. This is a rough sketch of one of the techniques you can use to create a workable plot. She explains the process, gives a demonstration, and then provides an exercise for you to build part of your plot.
You can download this mini-course in PDF format here.

If this is something that works for you, you can get more in-depth instruction from Holly's Create a Plot Clinic. I have the first 52 pages of it here for free.
The full course can be found here: Create A Plot Clinic, by Holly Lisle

Seriously, this has everything you need to know in order to plot out an entire novel. Last I checked, she had an updated version of this for $9.95. But she also has it available at a discount in a bundle, with building characters, cultures, and languages: Clinic Writing Bundle. They're all good, but the plot and character ones are the best (unless you do a lot of world building).

Part 4 will cover beginnings, middles, and endings.

Part 1 was on classic plot structures, and Part 2 covered getting down to creating a story that matters to you, but will keep your readers interested.

What Every Writer Needs to Know About Plot and Structure, Part 2

So, now that you know how plots used to be structured, how does today's writer plot out a novel without repeating the same-old, some-old?

Liz Strauss says the number one thing readers want from writers is for you to use an idea that is intrguing to you.

"If it intrigues you, I’m likely to be intrigued by it too. At the very least,
I’ll be curious about what it was about the idea that captured your interest and intrigued you. "

Read the rest of the article here.

This is vitally important. So many writers are overly concerned about "what's hot", what's selling, or what agents and publishers are looking for. While you should know your markets, don't let trends decide what you're going to write about. There are two good reasons:

1) The trend will most likely be old news by the time your manuscript is ready for publishing. (Getting a book to the shelf usually takes several months after you write it.)
2) If it sells, and you don't love it, you're going to hate being a writer. You'll be expected to write more of what you don't love. This job is way to hard to be worth it unless you're passionate about writing.

Create, Complicate, Resolve: The Keys to Keeping Your Readers Interested touches on the art of gripping your readers without letting them down by "cheating". (We've all seen it before--'and then I woke up.') Her advice:

Create a believable story where actions are followed by consequences. In real
life, situations happen this way, so don't hold back in your stories. It may
seem cruel, but your audience will actually thrive on how much trouble you
can heap on your protagonist while watching him drag himself over broken
glass by his lips to save the woman he loves.

Read the rest of the article here.


In Part 3 of What Every Writer Needs to Know About Plot and Structure, I'll post some freebies and other resources that helped me with plotting.
Part 4 will be on beginnings, middles, and ends.

You can read Part 1 here.

How To Think Sideways Lessons

I recently looked up some information for the How to Think Sideways Course that I'm taking. I wanted to know when I would get the full details on how to edit and revise a first draft. Well, it's going to be a while. I'll go ahead and edit as planned. I just may have to do it twice. No biggy for a perfectionist like me :)

Anyway, I thought you might like to know what lessons are offered, so I compiled a list. Some of the titles are a bit vague, so if you have any questions, then by all means leave a comment. I'll answer it to the best of my ability.




Lesson 1: How To Break The Four "Thinking" Barriers To Your Success
Lesson 2: How To Discover Your Writing "Sweet Spot"
Lesson 3: How To Generate Ideas On a Deadline
Lesson 4: How To Recognize And Build On Good Ideas
Lesson 5: How To Define Your Project's Needs (The Dot and the Line)
Lesson 6: How To Discover (Or Create) Your Project's Market
Lesson 7: How to Develop Your Personal Project System
Lesson 8: How To Plan Your Project While NOT Killing Your Story
Lesson 9: How To Write From Inside Your Story
Lesson 10: How To "Plan" Surprises That Surprise Even You
Lesson 11: How To Design Compelling Queries, Proposals, And Sample Chapters
Lesson 12: How to Create, Complicate, And Solve Problems
Lesson 13: "Can't I Just Kill Them All?" How To Fall In Love With Your Project A Second Time
Lesson 14: How To Find And Use Your "Planned" Surprises
Lesson 15: How To "Hire" Spies, And Why Your Project Needs Them
Lesson 16: How To Assess Your Progress And Make Mid-Course Corrections
Lesson 17: How To Use Story Gravity To Get To Your Ending
Lesson 18: How To Find The RIGHT Ending
Lesson 19: How To Write The Ending That Sells The Next Book
Lesson 20: How To Work With Editors, Agents, Marketing Departments, And Artists, And NOT Wreck Your Project
Lesson 21: How To Plan Your Revision
Lesson 22: How To NOT Fix What Ain't Broken (While Still Fixing What Is)
Lesson 23: How To Deliver What You Promised And What They Want On Deadline
Lesson 24: How To NOT Be A One-Book Wonder: Learn to Produce Repeatable Results

Bonus Lessons
How NOT To Write A Series---And Why You Don't Want To includes:

Lesson 25: Why Write A Stand-Alone Instead Of A Series?

Lesson 26: That's Why... What About HOW? (the six critical reasons why HOW you get to the end of your novel is NOT the point)

Lesson 27: The Ending Before THE END



All the lessons I've taken so far are fantastic, no doubt about it. But the ones I marked in blue are the lessons that I've taken and I think are exceptionally awesome. The ones marked red are the ones that I haven't taken yet, but am super-psyched about. Either I've talked to people who are ahead of me and have worked through those lessons, and/or it's something I need, and/or I've gotten samples of Holly's methods in those areas and am eager to get more details. Most of them, it's all three.

Pay Attention to ALL Your Characters

I just deleted over 2,000 words. Why would I do this when I’m having trouble getting enough words as it is? Because I messed up. Big time.

You see, when I get started writing, I just go with it. I get in the head of my POV character and I fly. It usually works out. I know the general direction the story needs to take and I have a (albeit vague) idea of what I want to accomplish in each scene (in my defense, I go back and make the scene tighter). My muse likes freedom and when I give it to her, I’m usually rewarded with some neat twists that I hadn't been expecting.

But there are some minuses. Aside from the aforementioned wandering that I sometimes catch myself doing, I don't frequently get in the heads of my other characters. I figure out each character at the beginning--discover their motives, needs, personality--but rarely do I stop and think, "How wil so-in-so react to this?"

And today it cost me 2,000 words and about 2 hours of writing and planning. Maybe more. Chapter 12 has been demolished and I’m having to start from ground zero. All because I didn’t use my villain to his full potential. He was being way too nice, only attacking when convenient and never really threatening anyone, just trying to be scary.

Now, he has an army waiting outside my heroine's home, ready to attack her mom as soon as she steps over the protective threshold of her home. And she won’t even see it coming.

For a brief synopsis, see my earlier post: My Current Project