I find it hard to believe that I haven’t talked to you guys since November. It feels like just yesterday we were strolling down Pumpkin-Head Lane counting all the piked up zombie heads.

My, but the year has flown. I haven’t made any New Year’s Resolutions to write more, or even write less. I haven’t made any false promises to myself. Truth be told, I never was any good at that sort of stuff.

Every promise I’ve ever made to myself I’ve broken. So, I’ve found it hard to write an advice column on writing when in all honesty, this is the first time I’ve put pen to paper or word to screen since my last blog.

But, I’ve found some minor successes inside of these past few months of barren word counts. It’s something I wish I did more of.

Not dishes, not chores, not even going outside to sing and dance and play in the rain…although, if we were to get some rain right now I’d probably do a cartwheel. Dry season sucks. Especially when you get the humidity of a mid-afternoon thunderstorm without the relief in the release of the pouring rain.

This is a little something that I’ve forgotten to do in the age of fancy whiz-bang toys and video games, in a world where entertainment value is measured by how much product we can place in a thirty second television spot.

That’s right. I picked up a book.

And then I picked up another book.

And another.

It all started with 11/22/63, I’d always much rather preferred my Koontz to King. For reasons I can’t even begin to explain. But, I picked it up on a promise to a friend. Stephen King was in town out in Hillsborough County where he’d been snowbirding since probably before I was born. Since he had a winter house on a private island out there, he decided to do a book signing at the local Barnes and Noble. It was my first book signing event for a big time author with a big time lead in.

I agreed to go with my friend, who was a much more devout fan than I. So, we piled into his trusty old Civic and drove the three plus hours over to the west coast of Florida. We got there reasonably early, considering we got up at like the butt-crack of dawn. I called the book store halfway there to make sure it wasn’t a waste of time, only to be told by a friendly book seller that people had been camping out all night.

All. Night. Long.

And that just blew my mind, especially considering we were there in the early days of November and there was holiday shopping and stuff still to come. I’d seen the crazy campers for concert tickets or Black Friday deals, but a book store? For a book signing? You’ve got to be kidding me. There won’t be a line.

I mean, don’t people just watch TV or play video games now? We saw all the video footage from the riots in London where electronic stores were smashed out and ransacked by looters. In that very same footage we saw the nearby Waterstones unscathed by the civil unrest.

Wow.

I couldn’t have been more wrong. And it was one of those little moments where the light bulb goes off and the heavenly choir sings. I felt good.

I felt home, even though I was three hundred plus miles away and standing in line for hours on end.

Truth be told, I had thought that humanity was lost and truly for a moment believed that arts were a dying life form.

When I got there though, it was amazing.

For those that have never gone to a book signing, don’t be afraid. This was my first too.

In the Superstars Seminar where I met my fellow Fictorians, I remember hearing a topic of discussion on the anatomy of a book signing from the author’s perspective. To see it from a reader’s perspective was a whole different game. I think I was able to appreciate it more for the event it was because I had not been one of those die hard fans.

But, the line was through the building and wrapped around the store twice. There were literally hundreds of people there.

And like three cops to keep the peace.

But, it was the most peaceful setting I think I had ever been in for a major shopping frenzy. I mean, people were jovial and on their best behavior. Neighbors in line were striking up conversations like old friends. And living here in South Florida, it was a rarity to see people actually get along.

In the midst of all the chaos and violence, hundreds of people had found their peace in a common interest. And it was like kumbaya campfire tales.

Seriously. For being herded like cattle through all the hot new best sellers and teenage vampire and angst lit, it was the best experience of my life. The two to three hour line really didn’t seem so long. People were reading on their kindles and nooks, sonys and hardbacks. And it was just this great…almost comic-con like atmosphere.

B&N get my respect for having it down to such a controlled science. Early people get one color, other people get another, line up here, stand there. Go this way, now go that way. Hand your book to a bookseller who runs the assembly line down to Mr. King to another bookseller then to you.

And Stephen King wasn’t doing a Q&A or interview or speech or anything. It was just a strict book signing. And halfway through, we found out the poor guy had the flu. And was there to keep his prior engagement to his fans. He didn’t cut the line short or end it at like 100 people. He swore he would stay until the last fan got their book signed.

And he sure did.

For that, I respected the man that much more. I gave him another look.

It was a truly inspiring event that I probably wouldn’t have even considered if my friend didn’t twist my arm and make me go.

But I read 11/22/63. And I enjoyed the hell out of it. As I was reading, characters and events from other books popped up randomly like King had woven this one giant tapestry of a world. And it made me curious for more. So I went back in and re-read The Dark Tower. And saw more references pop up.

The Dark Tower was a book I really hadn’t read in….wow. Close to fifteen years. All I remembered was it was a “weird, gothic western”….and when I envisioned Golden Hills, the memories of my childhood under an old sycamore came flooding back. And the first thing I thought of was The Dark Tower brand of weird western. And even though I hadn’t read the book in close to fifteen years and probably forgot more than I even knew in the first place, the atmosphere just kept creeping back to me.

And I wanted it. Bad.

So, when I finished The Dark Tower (No, I didn’t read the whole series. Come on! I still have to finish the Wheel of Time), I turned my attention to a book I had never read before, but had always been told to look into.

That book was a little novel called The Stand. You may have heard of it? Seriously. It’s little. Like, maybe only 100 pages. Go ahead, you can get through it in an hour.

And I did this weird stutter-stop when I read it. I’ve been slowly paging through, I think I made it to like 33% of the book and now I’m definitely hooked again.

The one thing that kept sticking out as I read it was how familiar it all SOUNDED.

That’s a key word, folks.

I’ve written the way I’ve written for close to six years. And every time I’d write something, I’d be told all sorts of nasty things about POV and how you SHOULD DO THINGS!

And if it’s not proper english with proper sentence structure and proper thoughts and proper this that and whatever…

Truth is, the only thing proper is what’s proper for your story.

Cormac McCarthy, one of the literary darlings of the 21st century absolutely despises punctuation and quotes.

But everyone loves his stream-of-conscious style writing.

And as I was reading The Stand I kept coming back to my own books.

I noticed a simple stylistic similarity that I never would have picked up if I didn’t read my own books fifteen times.

Me and Stephen, you see, we’re a lot alike.

When he writes a POV, he writes a POV. That’s all there is to it. You can’t get any farther into that character’s skull without worrying about how you’re going to get your head out of his nose.

And I loved it. Every moment.

I’ve always said that the reason I write is because these are the types of stories I want to read.

Had I known there was a multi-million dollar author out there doing the exact same thing.

Well then.

Maybe I wouldn’t have started writing!

It’s really amazing to look at the different styles of writing out there. Patrick Rothfuss has a very literary style. His words are like honeyed words on a lover’s lips. R.A. Salvatore has a nose for a good adventure yarn. Stephanie Meyer, vilified in the “circle” has a great knack for being able to connect to a teenage voice.

My advice to you this month is to read more. Stress less.

If you get lost in your own story, go pick up someone else’s. There’s plenty out there that just might light the fire in your pants. I can’t read books to study them. I hate that word, study. It’s nasty. Like eating mud pies. And not the good chocolate kind. I read to enjoy myself.

I write for the same reason.

You never know what you’re going to learn on the road less traveled.

And be careful about that guy sitting next to you hocking up a lung at work. He just might have Captain Tripps.

Seriously, for the first three weeks after reading the first part of The Stand, I was jumping at every sneeze and cough.

*Sneezes* Oh…er… Excuse me. It’s just allergies.

Happy Reading!

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Last year was spectacularly unproductive for me. I started on a roll but the unexpected death of someone close to me left me shattered and barely functioning for the rest of the year. So on New Year’s Eve, I set myself some goals for 2012. I do this pretty half-heartedly every year. After all, nobody ever sticks to their New Year’s Resolutions, right? Only this time I meant it. Really, really meant it.

I had a big goal in mind when I set my resolutions: to finish the current WIP before World Fantasy in November. That meant some serious edits. As of New Year’s Eve, I had a mostly complete first draft. It had issues – some big ones. A flabby middle (which I’ve christened the FM), lack of relationship building between key characters, some subplots were little more than a suggestion. I had two viewpoint characters but most of the manuscript was written from the perspective of one of them. It had been suggested that I needed a third viewpoint character and although I knew exactly what I wanted to do, it was difficult and very unlike anything I’d ever attempted so I had been putting off starting. In short, I had a lot of work to do.

So with the new year, I had a renewed focus. However what bothered me about focusing on edits for the next ten months was that I wouldn’t actually be writing during this time. Although the edits were necessary, it seemed I was facing a year of lots of writing work but few new pages.

So my New Year’s Resolution was deceptively simple: write a page a day. Something. Anything. Even while editing. Regardless of how it happened, I would produce a page a day of new words, be they new scenes in the WIP, blog posts, short stories, whatever.  An additional benefit was that I’d be learning to keep two projects in my head at once, which is something I struggle with.

For a 31-day month, one page a day – assuming a standard 250-word page – comes to 7750 words. Doesn’t sound like much, does it? But if I could consistently produce a page a day through 2012, it would give me 365 pages of new writing. I figured it was worth a try.

So four weeks into the new year, here’s how my resolution is panning out…

Week 1: Motivation levels are high. I’ve just had a week off work so I’m feeling somewhat refreshed. I’ve achieved my goal of one page a day every day this week. Word count: 3189 words, almost half of my goal for the month.

Week 2: Motivation is still high although I’m starting to flounder a little. I’ve spend some time this week on a new short story and a couple of blog posts. Not as much time on the WIP as I should have. Word count: 2616.

Week 3: This week has been almost easy. I feel like I’m developing a habit and I’ve worked on the WIP every day instead of letting myself get distracted with writing other things. Word count: 2988.

Week 4: Now it’s getting tough but I’ve not missed a day yet.  Work count is 1974 and the week isn’t over yet. I’m surprised I’ve lasted this long and am starting to think that maybe I can actually achieve a page a day for the whole year.

Lessons

The big lesson I’ve learnt is that I can write every day, which I didn’t think I could do. My usual pattern is four days on then one or two days off, and I’ve never really tried to push past that before.  I might be tired and a bit brain dead or, like tonight, ill and having trouble concentrating, but I’ve found I really can do it if I want it bad enough. And I think this is the first time I’ve ever had a New Year’s Resolution that lasted four weeks.  Bring on February!

Okay, ‘fess up. What’s happening with your New Year’s Resolutions?

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I don’t know about you guys, but I tend to revise my beginnings about ten times more than any other part of my stories. It is, in my opinion, the single most important part of a piece of fiction. It’s the handshake, the introduction, the ever important first impression. It’s the moment when the reader decides in a split second if they want to be friends with your characters and make a prolonged visit to your world.

The overriding wisdom where beginnings are concerned is that you should start late, in the middle of something, where some action is happening. This is all well and good, but how exactly does one put that into effect?

Thus enters the hook.

The best definition of the hook isn’t all that great, in my opinion. It’s something that catches the reader’s attention and makes them have to buy your book to find out what happens next. But I’m a girl who likes specifics. So, I had a look at the first paragraph of a bunch of books to see how the experts do it. What I’ve come up with is that a hook is something expressed that makes the reader stop and say to themselves, “Wait! What was that?”

What really catches the attention is when the author insidiously reaches out to a reader’s inner five-year-old and makes them want to ask, “Why?”

First, let’s start with the most obvious hook – the action hook. A good example of this is Joe Abercrombie’s The Blade Itself, the first of the First Law Trilogy. The first paragraph of this character driven series has Logan, one of the main characters, almost killing himself in his haste to get down a hill. What on Earth is he running from in such a reckless hurry? Read on to find out.

Thomas Harris does this in a less obvious way with The Silence of the Lambs. Clarice Starling is running down stairs to reach the division that deals with serial killers, a part of Quantico that’s “half-buried in the earth” (foreshadowing anyone?). She’s disheveled from racing there from training. We ask why an FBI trainee is running to deal with a serial killer without cleaning herself up first. And thus, we are hooked.

Another obvious hook is the “I should have known” hook. In Glen Cook’s The Black Company, the first paragraph has the narrator stating, in his typical dry humor, that, according to the Company’s wizard, One-Eye, there were “prodigies and portents” that should have warned our heroes of what was coming. What happened to these guys that declares itself with “prodigies and portents?” Nothing good, I tell you.

But what about those less than obvious hooks?

How about the slightly off-kilter reality hook? Jack Linday introduces his serial killer hero in Darkly Dreaming Dexter, by having Dexter wax rhapsodic over the Miami night. Unlike the action hook, it’s Dexter’s point of view that gets us. While it starts out innocuous, by the end of the first paragraph, Lindsay’s word choice turns the world into a dangerous place. The starlight has a “hollow wail” and the moon’s reflection on the water is a “teeth-grinding bellow.” Who is this guy and why does he see the world this way?

My favorite rendition of this type of hook comes from Clive Barker’s Galilee and is the only time I’ve ever bought a book from reading the first page. The first paragraph is just the narrator talking about the house he’s sitting in. Not all that exciting, but the devil is in the details. You see, the narrator’s step-mother hired Thomas Jefferson to build it in a North Caroline swamp facing her homeland of Africa.

Let me just state that this book is set in modern days, so we have at least one character who was alive in the late 1700’s, is from Africa, and built her house in a swamp in North Carolina. What the devil is going on here?

Then, there’s the “I’ve got a secret” hook. Jim Butcher uses this in the first book of the Alera Codex series, The Furies of Calderon. A woman is riding a bull, thinking about how the slave collar she’s wearing chafes and she should wear one more often to prepare herself for her next mission. Why is a woman wearing a slave collar when she doesn’t have to, and what’s this mission she’s on? She knows more than we do, and thus has a secret we want in on.

So, what did all these examples prove? Well, basically that it really doesn’t matter how you start your story, as long as that first paragraph makes your reader stop and ask, “Wait! What was that?”

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A guest post by Mignon Fogarty

It’s a huge thrill for a wordie to come across a particularly well-used word; it’s like a little inside joke shared with the author. It’s not necessary to place these Easter eggs in your writing, but if you can, it’s quite fun for you and a certain segment of your readers.

Take “maudlin” for example. Any of your characters can be maudlin, but it’s a freakin’ home run when a nun is maudlin! The word is derived from Mary Magdalene’s name because in Middle Age art, Magdalene was always portrayed as weeping and downcast. As with so many English words, the spelling morphed over time–from “Magdalene” to “maudlin.”

“Anathema” also has religious origins and is particularly well used to describe something devilish or church-related. Today, anything hated can be anathema, but the word comes from a Greek word used to describe something cursed or devoted to evil. In the 1200s, the Catholic Church had a few different kinds of excommunication, and the harshest–proclaiming someone damned–was called anathematization.

If you write about Medieval times, you may want to use the word “bailiwick.” Today it describes someone’s area of expertise, but in Old English, a bailiwick was something like the bailiff of the village–the overseer.

“Egregious” also has interesting origins; it comes from a root word meaning “flock,” as in a flock of birds. The “e” is a remnant of a prefix that means “out,” so “egregious” means to stand out from the flock, which makes sense when you consider that a disruptive bird would stand out from the flock, just as someone who exhibits egregious behavior would stand out from the crowd. If you can smoothly work “egregious” into a sentence about the behavior of animals (or people) in herds or flocks, it’s a win.

“Galvanize” is related to electricity, “gall” is related to liver bile, “haughty” comes from the French word for “high,” and “inchoate” is related to plow animals. The examples go on and on.

I started being particularly aware of words with interesting origins when I began researching etymology for my 101 WORDS book series. You can develop your own list of words to use in interesting ways by browsing a dictionary or signing up for word-of-the-day lists and jotting down promising words in a notebook or computer file.

Mignon Fogarty is better known as GrammarGirl and her newest book is 101 WORDS TO SOUND SMART (Amazon, Barnes & Noble, Books-a-Million, Indiebound, Powell’s)

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I recently had the pleasure of finishing my reading of Brandon Sanderson’s latest Mistborn novel: The Alloy of Law.  It was fantastic, full of his snappiest dialogue to date, hilarious self referential jokes and a plot that moved forward with the stunning pace of a bullet train.  Taking place some hundreds of years after the conclusion of the original Mistborn trilogy, the world and setting had completely changed, and yet it was at once instantly familiar.

In fact, while the main and supporting characters were thoroughly enjoyable and thoroughly hilarious with all of their requisite Sanderson corniness and wit, I found myself mostly intrigued with the setting itself.  I was stunned to realize: the setting of this book was just as much a character to me as Wax and Wayne and the rest of the cast.  What made that so?

I think, for me, it was the progress, the change and development to the setting since last time I had visited Scadrial in the original Mistborn trilogy.  Without throwing out too many spoilers, within the three hundred or so years between books technology had begun to modernize.  Trains now race through the city and branch out through the unsettled “Roughs”, criminal and lawman alike have dropped their blades and taken up potent firearms, main characters from the original story have faded into myth, legend and theology.  As I said, I found a new sense of conflict and development in the actual world building behind the story.  It had become a living, breathing character.

I tried to pin down how, exactly, Mr. Sanderson was able to achieve this, and I think it boils down to the most obvious aspect: the passage of time.  In a lot of fantasy stories and series, it is sometimes surprising how little time actually passes.  For example, in The Wheel of Time, after twelve exhaustive books, I’m pretty sure only 2-3 years have passed.   Sure, the setting might be growing and changing based on the actions of the characters, but profound change in technology, government and lifestyle usually takes decades, even centuries.

That is why after three hundred years or so “off screen” I was fascinated by my second trip to Mistborn’s Scadrial, and I’m really interested in finding more stories or series in which time and generations can pass, and the setting is able to develop as a prominent character.  Another one I can think of off the top of my head is Kevin J. Anderson’s Terra Incognita series.  The stories move at a blistering pace and sometimes years pass a decade at a time.  The landscape and inhabiting cultures are scoured by war and the vast scope of the story really gives room for the world itself to develop.

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Writing is a solitary business for a number of reasons, but there may be times when you want to collaborate. This blog is one such instance of writerly collaboration. The reasons for coming together to create it are numerous: we all have different things to say and different experiences to share, we can distribute the workload of maintaining such a site so that no one person has to do it all, etc. Doing so has allowed us to create a product that helps each of us individually and (we hope) provides a value to the writing community at large.

However, such a joint venture has some limitations. Our more astute readers will have noticed that a couple of recent posts were taken down from our site. They weren’t taken down for issues of quality or anything like that, but were taken down due to the controversial nature of the posts. They were, in essence, declaring a stance that not all of the blog’s contributors shared on a very sensitive topic.

Now, I’m all for taking a stand on hot-button issues. I have no problem with taking an unpopular position so long as it’s one I happen to believe in. In fact, I have a short political satire that I am purposefully not promoting on the Fictorian Era simply because I don’t want to suggest that any of the other contributors want to be even tangentially associated with it.

Which brings us to the heart of the issue. Each of us is an individual with individual views on a variety of topics. A shared project like our website cannot let each of its contributors express himself fully without potentially alienating some other member. That can be a severe limitation for a group of artists, whose main drive in their work is self-expression. This is something that anyone is going to have to consider before joining a group where the task of creation is shared.

However, while it may limit the scope of what the group can do, it certainly doesn’t limit the individuals comprising the group in any significant way. As I mentioned, I’m still writing my outrageous and inflammatory satire, but I’m just not making any of my fellow Fictorians inadvertently promote something with which they may violently disagree simply by promoting our blog. And at least one of the posts taken down has found a home on the author’s personal website.

Shared projects like this one can certainly have value. They may not be able to stir the pot as much as some people (like me) would like, but that’s not generally their purpose—and if it is, it must be understood by everyone involved from the very beginning. Though it may seem like such projects limit you in some way, keep in mind that you are not losing anything by doing it, but actually giving yourself an additional means of self-expression, narrow though it may seem at times. And if it ever seems to confining, you can always just take your own path and focus on the things that truly matter to you.

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I love the way a good book will spoon feed me interesting tidbits, stringing me along like a drug addict flipping pages from fix to fix. Getting to the end of a chapter and realizing I can’t stop there, that I simply must continue reading, that my life will be a little poorer until I find out how the hero is going to free himself from the rock that has him pinned to that hard place there is an awesome feeling.

With epic fantasy and the cast of hundreds some of the successful series wield (i.e. A Song of Ice and Fire and The Wheel of Time), it might actually be a chapter or two if not a hundred pages before you get back to said hero stuck in said predicament. The challenge the writer faces is making sure A: the continuation of the storyline you’re slavering over is worth the wait, and B: the intervening storylines and their characters are not only necessary, but interesting enough not to lose your attention in the meantime.

Of course, the pacing you use will vary depending on the format of what you’re writing. The pacing in a short story is quicker–for obvious reasons–than in a novel, and a 150k novel will have different pacing than one of the 450k word tomes Brandon Sanderson, Patrick Rothfuss and George R. R. Martin publish. Likewise, it will vary depending on the genre. If you like writing YA, your story will definitely have a quicker pace than a story written for a more mature audience.

I aspire to write epic fantasy, and often find myself struggling with my own pacing. Like so many of you, I’m a product of this current age of instant gratification.  We want what we want, and we want it now! But with literature–as with just about any form of entertainment–a good percentage of the enjoyment we derive from it comes from sheer anticipation. How often do you see the monster in the horror movie before the second act? Very rarely.

And while I love that very same anticipation when reading a book or watching a movie, when I’m actually writing, I wish I could write ten times as fast. As the author, I know what’s going to happen next. I know how awesome I think it is, and how badly I want my readers to get to it so they can revel in its glory right there beside me.

Somewhere along the line in the writing process, I typically lose my sense of pacing and begin revealing things far too quickly. The big secret which is supposed to be revealed at the climax suddenly makes an appearance in the prologue. Perhaps that’s a bit of an exaggeration, but this most definitely is one of my weaknesses as a writer. As such, it’s one of the things I always ask my alpha readers to focus on.

Anyone have any tricks for how they deal with pacing in different forms of fiction? Since I’m writing epic fantasy, it helps to tell myself it’s a marathon, not a sprint.

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Archives. Backlists. As writers, we’ve all got ‘em—at least for those of us who’ve been pounding away at our keyboards for untold years. These early projects have allowed us to grow as writers, and maybe even as people.

These projects do not, however, showcase our best work. Am I the only one who wrote a first novel while still in elementary school? Surely not.

My sixth-grade effort is pitiful in the extreme. To make it all the more embarrassing, it happens to be a spec Star Trek novel. A large part of me is eternally grateful I never got around to submitting it, since the safest place for this manuscript is most definitely a cobwebbed binder in the bottom of a box in the back of that storage compartment I never, ever visit.

Well, a few days ago I happened to be cleaning out some junk at the bottom of the storage compartment in question. The box was open in front of me, filled with all sorts of childhood knickknacks and old report cards (oddly enough, that “A” in fifth grade Language Arts still makes me proud). And at the bottom of that box was a bright red, doodle-ridden binder that made my heart leap out of my chest.

While I’m in admission mode, I should also reveal a second discovery at the bottom of that box. I had almost entirely forgotten about its existence, but stored in a taped-together cassette holder was a childhood project even more humiliating. At the age of twelve, apparently I thought it would be a good idea to record an audiobook version of that first novel. Miracle of miracles, I happen to still own a cassette player. What a trip it was to hear my own prepubescent voice stumble over those awkwardly written sentences! I have a bad feeling that if I don’t burn those tapes today, they might one day make an ominous appearance at a future wedding toast. (Note to self: Never get married.)

So why am I writing about all this? Nostalgia. Nowadays, I hem and haw over writing deadlines and daily word count minimums. I’ve been told countless times, by people who really know what they’re talking about, that the best way to pursue literary success is to treat writing with all the persistence and professionalism as my day job. Hence deadlines. Hence word count minimums.

But back in the day, when I wrote that Star Trek novel, I don’t remember being concerned about matters of productivity. I wrote because that’s what I felt like doing. Now, if I only ever wrote when I felt like it, I wouldn’t be very productive at all, and yet that first novel truly was the laudable result of a twelve-year-old burst of creative passion.

Nostalgia can be both a beautiful and ugly thing, but today it feels especially beautiful. The memory of that book caused me to write several thousand words this evening, words that flowed as quickly and effortlessly as the mighty Amazon.

A lot of the time, looking backwards results in regret and anguish, but every once in a while it reminds me of who I am and encourages me to keep going.

What kind of nostalgic efforts do the rest of you keep hidden away in your proverbial (or not so proverbial) abandoned storage lockers?

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You are a writer – whether you write something every day or not doesn’t change what’s in your soul. Deny it all you want. Procrastinate, make excuses, let life control your agenda, but deep down inside you know you’re driven to write because for you every written word is oxygen. Denying yourself oxygen is silly, even stupid, because to do so kills you. So here are eight things to do to keep you writing:

1) expect to rewrite

Perfect prose isn’t achieved with the first tapping of the keys. Good writing is complicated and may take a few tries to get all the aspects right and that includes things like grammar, the plot, character motivation, character interaction, voice, point of view and the hook. Writing is a creative process and creativity evolves and grows. Nothing is ever perfect the first time so get over it and write!

2) don’t get frustrated by your responsibilities

Family and work are responsibilities we all must honour. On that ride to work dictate your thoughts to a recorder. Go to work a half hour earlier and spend that extra time writing – every word counts! Don’t watch TV to relax after the kids have gone to bed – read a book (that’s research), work on your story or write a blog. And when the kids are doing their homework, do yours! There are days and months when demands are high and you can’t write but that’s not a reason to totally abandon your passion!

3) set goals and celebrate

Set realistic goals. 50 words a day, a week? Research and brainstorming for a month? Meet the deadline for a workshop or submission. Goals can be a moving target and that can be frustrating. But no goal means nothing to strive for and nothing will be achieved. Always celebrate when you reach a goal be it small or large. You’ve done something no one else has and that’s worth celebrating!

4) write what moves you

Don’t put off writing the novel because you’ve heard there are more markets for short stories. Don’t limit yourself to a novel when it’s a trilogy you want to write. And, write what moves you. If it’s the current popular fiction which sparks you, write that. If it’s something way out there, write it. If you’re not passionate about your story, the reader won’t be either.

5) don’t worry about the publishing industry

If you have a finished product, research the options for selling your work. BUT, if you’re still working on the first draft, don’t worry about it. The industry is changing and what you figure out today may not apply tomorrow. So write now. Worry later.

6) conquer your fears

Fear of failure, fear of sounding stupid, fear of being criticized because you’ve put your heart and soul into your creation and someone may not like it. Everyone has an opinion (including you) and it’s valid. For whatever reason, a publisher may not want your first book but that doesn’t mean it’s not publishable. Sometimes it’s the second or third book which gets published first and then the rest follow.

7) keep learning your craft

Expressing our creativity is a lifelong learning skill – that’s what makes it so exciting! Every time we learn another trick to hook and keep the reader, we’re closer to achieving our goal. Every new piece of information on craft, background research, on the publishing industry keeps our grey cells spinning and the oxygen flowing.

 8) love the kid in yourself

Sounds corny, I know. But remember, we’re just grown up kids with responsibilities. Using our magnified lenses called imagination and twisting our heads this way and that, we writers explore our world with wonder and excitement – just like kids do. And we have a fantastic tool, the written word, to relay that wonder to the rest of the world. So cherish that kid inside and let your imagination build those new and wonderful worlds.

And most importantly, have fun! Creating new worlds and sharing them with readers is the greatest fun any of us can ever have!

Keep writing!

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A Guest Post By Mercedes M. Yardley

Once upon a time there was a girl. She wrote a cheery story about murder and sent it in to a sparkly magazine. They accepted the story. The girl joined the forum. After a while, the Gods of the Magazine asked the girl if she wanted to become a member of the staff. She thought about it and did. They lived happily ever after. Sometimes, they ate muffins together. That made it even better.

I’ve been working with Shock Totem : Curious Tales of the Macabre and Twisted since 2009. Although I had been writing since childhood, I was brand new to the publishing scene. It was horrifying and confusing and daunting. I wrote stories and decided that I would send them into the ether. I really had no idea what happened to them after that.

When the guys asked me if I wanted to join the ST team, I thought about it very carefully. While my initial reaction was, “How delightful! Yippee!” I knew it was a big decision. If I joined, it would be for the long haul. I wouldn’t skip away if things became too tedious or difficult. Did I like the people I’d be working with? Would the dark nature of the submissions depress me? Could I handle the enormous time commitment? And most importantly, could I work on the magazine without sacrificing my own writing?

I decided to jump in and it was a wonderful decision. Not only did my literary learning curve accelerate dramatically, but I have the opportunity to work with people who might be completely inaccessible otherwise. There are more opportunities than ever before for people interested in working for a magazine. If you’re thinking of taking the plunge, here are five ways that your life might change.

1. You check your work much more carefully.
   As harsh as it seems, you’ll realize you can be rejected because you have too many mistakes in your submission. I know! The nerve! It’s a great story and that should speak for itself! Those stupid editors!
2. Of course mags are looking for great stories. We live for great stories. But each piece has to go through a horrifically painful editing process and if your story is rife with mistakes, well…sorry. There just isn’t enough time in the universe, is there? Of course, there are always exceptions. Perhaps your tale is the diamond in the rough, and the editors’ eyes will glow when they pull it from the debris. But why chance it?
3. You’ll realize that time is currency.
   There simply isn’t enough of it. Your old schedule won’t cut it anymore. You’ll need to balance and juggle as well as any Cirque du Soleil performer. You’ll have to turn things down, say no, and stay in sometimes when your friends go out. It isn’t just your own work that you’re thinking of anymore; there are other authors and coworkers involved. Don’t be the weak link.
4. People think you know stuff.
   And you will. You’ll know all about proper manuscript formatting, how to write a decent cover letter (or more importantly, how to avoid writing a crappy one), and what type of tropes are a hard sell. If you have the knowledge, the best thing to do is to share it. But you might find that you need to set limits. Some people think it’s absolutely fine to call you in the middle of the night because they want to know what the magazine guidelines are. People also watch you more carefully, and might let you know whenever they see a typo in a post. They expect more from you now that you “know what you’re doing”, and they absolutely should. Which brings me to #4.
5. You might receive your first hate mail.
   I did, and it was initially devastating. Remember that people see you as a name on a screen and not necessarily as a person. When you put yourself out there, you lose all control of how people perceive you. They see through their own lens. Try not to take it personally (yeah, right) but save those letters in a folder for future reference if you need them. Don’t read them again, but keep them.
6. You’ll realize that writing is a business, and therefore attainable.
   This might be the most important lesson of all. Writing was always made of magic. It’s ephemerality and gossamer butterfly wings. You wrote your story (perfectly in the first draft, naturally) and a unicorn carried it off to a publisher’s golden castle. Then you had your book, or so it seemed.Imagine my delight and relief when I discovered for myself that this wasn’t the case! Write your piece. Polish it. And then work your butt off trying to sell it. Go to conferences, write queries, meet agents and editors and fellow writers. Tenacity is your friend. So is kindness. Don’t give up. Don’t give up. Don’t give up.

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Congratulations! All three judges agreed–or at least barked.  Anne is the pick-the-name-out-of-an-empty-tissue-box winner! Please email me at colette at fictorians dot com so I can get your address information and send your free wall calendar and a copy of “Alien Proliferation.” Contact me asap to receive your prizes.

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I’ve always been big on goals. But evaluating them can get discouraging, especially as I rarely accomplish my goals. One of my kids asked me once, “Why set goals if you’re not going to accomplish them anyway?” I responded, “So I accomplish something.” There is more to life than destinations. There’s the journey.   Setting goals gives us direction.

Each year, as I evaluate my goals, it’s more than a checklist. It’s a compass reading. How much of my plan did I implement? What can I change so I can do the things required to reach my goal? Why and when did I lose sight of the plan? How can I approach the goal in a better way? How can I enlist support from friends/family? How should I change the goal so I can be more successful next year? If I achieved my goal, what else would I like to work on? This kind of self-evaluation corresponds with our writing goals as well as our personal ones.

We should never set goals for things outside of our control, like landing an agent or publisher, but there is so much within our grasp. When we evaluate our productivity goals– how much time was spent writing, the number of pages, chapters, or stories finished–we have an opportunity to see what worked and what didn’t. We can look at our habits and writing patterns and decide how best to get our BICFOK (Butt in Chair, Fingers on Keyboard) at our optimum writing times. We can evaluate what got in the way, why, and how to change it.

As for that agent/publisher, we can set goals to meet people, to submit our work, and to do anything and everything we are capable of making happen in order to encourage their acceptance of our work. In the end, though, it’s their decision.

Now, I’m coming to the end of the most unproductive month I’ve ever had. There are a few reasons for that: started planning for the holidays later than I should have, overextended myself to family and friends, didn’t take the time to write during the days like I usually would, and spent too much time in the evenings watching TV because I was too tired. In evaluating the way my goal progress tanked, I can make some decisions. I’ll set a date to start the holiday shopping, I’ll set time parameters for holiday projects instead of committing myself to unreasonable time-consuming activities, I’ll reduce the shows I follow and schedule when I’ll watch them instead of staying up late or letting it eat into my writing time.

Will I slip-up or forget some of these goals through the course of the year? Sure. Looking over them on a regular basis will help, but I’ve never yet achieved even half the goals I set for myself. But I usually get a few. There’s no reason to give up on goal-setting just because we fall short. The purpose is to give direction, not perfection.

So, good luck on setting your goals. Remember to keep them specific, attainable, and limit your focus to a few of the things most important to you. And if you don’t reach them all, that’s what assessment is all about; we always have the opportunity to keep trying.  As writers, that should be a concept with which we’re painfully familiar. Happy Writing in 2012!

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This is the second of three blogs related to setting goals.  Clancy kicked off the series with her excellent post Road Maps Help You Get There.

I will be building on what she started, talking specifically about how to set more effective goals.  We’re starting a new year, and as usual, this is a time for renewal, a time for fresh starts.  It is very common to set goals in personal and professional lives.  Why is it that so many of these new year’s resolutions remain unfulfilled at the end of the year?

First, they aren’t written down.

“People with clear, written goals, accomplish far more in a shorter period of time than people without them could ever imagine.”

This quote, from an unknown source, drives to the heart of this post.  Life is busy and unless we focus our energy, we will fail to best utilize the limited time we have for writing.

A goal not written down is a daydream, whereas a written goal is a dream with a deadline.  If you like the idea of being a writer but aren’t interested in actually finishing anything, then don’t bother reading on.  Otherwise, roll up your sleeves and get your pencil ready.

Second, they aren’t meaningful.

Writing a goal isn’t enough.  If it’s ambiguous or you don’t really understand your goal, you’re setting yourself up for failure.

For example, a writer may decide to set the goal, “I’m going to write a book this year.”

Wonderful, but not very effective.

I’ve set this very goal in the past, and I’ve proven to myself that I need to be far more specific.

What kind of book?  How long?  Is it a 10 page children’s picture book or a 150,000 word epic fantasy novel?

If you say you’re going to write a 100,000 word novel (pick your genre), then you have a starting point for setting a meaningful goal.  There are a few other things you need to understand first.

How are you going to approach writing this book?

Are you a free-writer who will sit down at the computer and just start typing in hopes of triggering the Muse to start whispering in your ear?  That’s fine.  Just recognize that the early effort, and maybe the entire early draft, is just an exploration, a search for your novel.  Once you find it, you’ll probably need to throw away most of what you’ve done to that point because only then are you ready to actually start writing the real story.  Actually completing a viable first draft of a 100,000 word novel this way may require 250,000 words or more.

If you are more of a story planner, have you discovered your story yet?  If not, you will need to allow for perhaps months of work before beginning the actual draft of the story.  You need to explore concept, theme, characters, setting, and plot.  You need to develop conflicts and figure out your ending and weave in sub plots through the outline.  You may write 50,000 words or more in your outlining process before you’re ready to begin a viable draft.

Whichever way you approach the work, writing a 100,000 word novel in a year is far more than just banging out 100,000 words into a text file.

Once you understand what you wish to accomplish, you are ready to set a goal.

Third.  They aren’t measurable.

Isn’t the goal of writing a 100,000 word novel measurable?

The answer:  partially

If you reach the end of the year with a 100,000 word completed draft of your novel in hand then you can say you reached that goal.  However, how do you know in June that you’re on track to make it?  Have you set any measurements to help you plan the effort each month?

Break the goal down into smaller blocks that will serve as sub-goals you can work each month, week, or even day.  If you can do this, you’ll know at any given time if you are on track or how far behind you’ve fallen.

Another benefit of breaking goals down into smaller blocks is the goal suddenly feels far more achievable.  Sitting at the computer, staring at blank page number one, and knowing you’ve got 100,000 words still to go can be extremely daunting and discouraging.  It’s not so bad to think, “I’ve only got to write 1000 words today.”  You can do that, no problem.

Take these three components of successful goals and apply them to any goals you wish to set.  You’ll find they immediately help you define, clarify, and organize your goals.

For example, last year I set the goal to write two complete novels.  I didn’t quite make it.  Part of the reason was that I did not follow this process as closely as I knew I should.  I did complete two drafts of one novel, make significant edits in a previously completed novel, write a new novella, and complete about 70% of the planning process of another full novel.  I am pleased with all the work I did complete, but I could have done better.

This year I am approaching the setting of goals more carefully.  I am still finalizing the plan, but right now it looks like this:

Goal 1:  Complete edits to The Sentinel’s Call, my 150,000 word epic fantasy novel.

The detailed monthly plan is not complete, but at a high level, I need to:

• Re-read the novel and identify needed edits to improve book pacing.
• Compare planned edits with feedback from my agent, and finalize plan
• Make the edits.

I expect to complete this effort by April or May.

Goal 2:  Write the sequel to The Sentinel’s Call.  This will be a 125,000 word epic fantasy novel.

Plan will include:

• Complete high level outline (Current state: 70% complete at 3,500 words).
• Tie plot to planned edits to The Sentinel’s Call.
• Complete detailed outline of up to 30,000 words.
• Write first draft in 3 months.
• Gather feedback from beta readers, plan second draft, and write it prior to the end of the year.

As you can see, I still have work to do, but I’m getting close.  As I finalize the goals, measurements, and the plan to achieve them, you can see how the resulting tasks will easily become sub-goals and milestones I can use to benchmark progress and keep myself on track.  I’ll plan to schedule at least a couple of burst-writing sessions in the months with the heaviest chapter writing to increase productivity.

If I can identify clearly and realistically what I’ll need to do every month to reach these goals, then I just need to work the plan.

We’ll see how well I do.

What are your plans for next year?

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Recently I’ve been sampling some commercially-focused writing education. While high school and college classes presented what I consider a sort of forensic, after-the-fact approach to literary analysis, how-to-write books tend to focus on how to generate a prizewinning or commercially successful novel or screenplay.

After reading dozens of how-to books and listening to many hours of lecture and seminars since I started writing my current novel, I thought I’d share some of my take-aways.

1) Some books teach an overtly formulaic approach, and are focused on simply getting something written.

I read a Dummies guide to novel writing. It laid out a formula, break your story into 1/4 1st act, 1/2 2nd act, 1/4 3rd act. It seemed to be mostly focused on solving the problems of writers block, and offered a ‘fractal’ approach, where you write summary sentences for each act, expand those to paragraphs, expand each sentence in the paragraphs into a paragraph, and so on until you have a story. It was very focused on if you just keep turning the crank you’ll get a novel out.

The Dummies book also made reference to another book that detailed minute mechanics of each scene and each line in the scene. I then read that book and was practically scared off of writing. This book (Swain’s Techniques of the Selling Writer), a classic, out of print but lauded title, told me that I have to have to painstakingly compose every sentence of either a motivation or a reaction. I felt like the only way to have a great book was to take a tiny brush and hand polish every word of every scene. I’m sure I do need to do that at some point, but I tried a hand at thinking that way, and I couldn’t move through my book. I decided that was an editing task and that I’d have to develop that skill in time, and I moved on to reading other how-to books.

2) Some books try to psych you up to deal with the relative impossibility of getting published.

The majority of the books I read, on novel writing at least, offered a cautiously optimistic take on the industry, and essentially gave out the same advice: Keep trying. This becomes a tautology of sorts, because if you never stop submitting you technically still have a chance of making it, whereas if you give up you will have of course failed.

This whole theory of publishing – “maybe I’ll get an agent or maybe I’ll get signed” – is outdated, because today there’s absolutely no barriers to getting your book in ePublishing. But having numerous friends and relatives in the music industry, this is an old, well known problem. Sure, there’s no barriers to cutting an album either, and in fact having a perfect, shining album produced entirely on your own money is practically prerequisite to trying to get signed as a musical act. In the same way, it’s expected that you write a pretty finished product these days in your attempts to submit and get agented or published, since your competition is doing just that.

But now you have the issue of, well, why are you waiting to get signed? Why not just put your stuff out there and see what happens? And since the record label (or publisher) wasn’t likely to sink their marketing budget on you anyway, they were going to see if you struck a chord with the public and only then cautiously support you, why not take it on yourself to promote?

Ironically, (I think it’s irony), since books take years to get published, not one of the writing books I read, even recent ones, really addressed the “maybe you should just e-publish” issue with more than a passing thought of the traditional variety, that self-publishing is sort of dirty and might tarnish you. I suppose it’s like trying to write “‘The History of the Revolution” in the middle; there’s just nothing that can be really said until the dust clears and we know who’s in charge. (Hint: Amazon and Apple).

3) Some books, seminars, and lectures offer detailed plot beats.

A good number of the lectures I listened to, which admittedly were more geared towards screenwriting but included numerous writing craft classes as well, focused on story beats. The 51 good beats for a thriller. The 189 beats of a RomCom. The 5000 beats of a master tearjerker.I exaggerate, but seriously there seems to be a very well tread path in commercial fiction and stories to hitting the key beats, and this category of advice resonated the best with my own style.

As any experienced artist knows, form is indeed liberating, and the emphasis is that while it may seem “formulaic” to include the various beats, it is also formulaic to have 4 beats in a song, formulaic to use well known instruments, formulaic to use a language that people speak, and formulaic to use Do-Re-Mi as the notes in a scale. Really, the audience (except for art seekers purposely looking for experiences out of the mainstream) is expecting to be entertained, and may not be investing more than a casual amount of attention on your artistic work. Thus making a work accessible in the standard ways but doing a fine job of it, will be rewarded. Similarly, taking a well known story form and just adding a unique twist on aspects of it, subverting expectations in an interesting and novel way, can pay off because it is built upon, again, a well known story.

4) Discovery vs. Outline writing

This is an area where it appears that the writing universe agrees to disagree.

I sort of think of it this way. There are people who are great live storytellers. Great ad-libbers. Great comedians. They can tell a joke, they can thrill you with anecdotes at a party. I have a dry sense of humor and I can occasionally be funny, but often my humor can fall flatter than I had wanted. I have a brother who can tell excellent if occasionally long winded stories, but you would see him being more effective than I around a campfire.

However, there are those people who think of the great retort later that day. “Ooh, I know what I should have said to him!”. Well, the good thing about those people is that they can be great writers. They can write that down, and the next great retort and the next,  and now they’ve got some punchy, incisive dialog.

I can sit down, my mind swimming with thoughts, and write them down, and keep writing, and after some days and months I have more goodies than I know what to do with. I cull the best, separate the rest into a future bucket, and have goodies for later chapters or other books.

The same issue occurs impacts the approach to writing. There are discovery writers, who sit down, write the book, and then edit it. Period. Stephen King is a good example of this style and explains some of it in his book on writing. Some of the more genre writers, such as SciFi and fantasy, create vast universes and need to painstakingly document the magic systems or physics as well as the geography of the worlds they build. Naturally, they are sometimes just as painstaking in their plotting.

I myself found that, coming from a tech writing background, I outlined a lot. But I also found that when I go to write a chapter, no matter how outlined, the characters lead me wherever they do for the scene. I think I’m a hybrid outliner/discovery writer, but I’m probably way more outline than discovery.

5) Plotting vs. Character

The discussion of outline vs. discovery also impacts this theme, which I encountered in a lot of books. There’s this tension between hitting the plot points and keeping them from being forced. Would the character naturally do this to achieve their burning goals and desires? Or are they just stopping by the bank so they can get tangled in the bank robbery because it moves the plot along?

I saw a lot of discussion of this without a lot of good advice on how to solve this dilemma. The best I got was that plot should flow from character, and what the characters would do. But if you sit and ask what those characters should do, they might do the darndest things – and depending on how burning a desire you give them, and how sharp and defined their flaws, they might give you a great plot.

It seems to come down to some oft-repeated basics: Give them a burning desire; give them understandable flaws; put the characters in conflict.

But will this get them to the bank to be a victim of the bank heist that is critical to the unfolding of the plot? I just don’t know. And again, I will probably have to study more books to see if any of them give me some better tools than “don’t” to achieve this effect.

6) Don’t be derivative

Another oft-given piece of advice, easier said than done, is that you shouldn’t repeat others’ stories. Advice in this area ranged from what should be obvious: “don’t plagiarize”, to entreaty, “please don’t make me read your obviously derivative story”. The common areas of offense, which presumably came from the how-to authors’ personal experience in reading slush, were in characterization and plotting. Several times I was told not to write about a whore with a heart of gold or a hard-bitten cop. So I’m going to write about a cop with a heart of gold and a hard-bitten whore and see where it gets me.

Plotting, while not being outright plagiarism or theft, can be a serious issue. If you’re not familiar with the stories and literature of your genre, you could use the exact same twist – either subliminally transmitted to you by the culture, or thought of completely independently. Either way, you come across clumsy and unprofessional if you unknowingly lift someone else’s solution. Especially, especially if they don’t know about it.

Was it Picasso who said good artists borrow, great artists steal? Well poor artists unwittingly copy.

Should you even read how-to-write books?

That’s the question. When I started writing my current novel, I started perusing (in the thorough sense) various books on writing, but I took them with a grain of salt. I had been given the advice – probably from a how to book – that reading them was a fruitless exercise. That the techniques they taught were often different than the way I worked, and they were mostly applicable to that specific author’s personal work style. Also, a lot of advice was simply an attempt to help aspiring authors finish something. In a similar vein, many of the books simply said “you should read a lot” and in many ways implied that style and judgement would arise from reading sufficiently. Other books gave the simple answer “write a lot” and the books were divided as to whether people should have their works critiqued.

Here’s my thoughts on the matter:

1) If you’re having trouble finishing your book, some of the books with a motivational slant may get you past the finish line.

2) If the drivel you write feels like total crap compared to the lofty prose you read, some of the books might help you find out what’s wrong with your sentences.

3) If you haven’t read enough at all, or read enough in your genre, or if like me all your in-genre “reading” was actually going to the movies which are universally regarded as not as good as the book, then you shouldn’t read a how-to book. You should read novels in your genre.

4) If you’ve barely written but you’ve read enough, then you should likewise skip the how-to books. Like language, you probably have the vocabulary – not just words but the scenes, transitions, motivations, and plot – and you should just start writing. Chances are, if you are quite well read, and you have some story ideas, that you will be able to write well.

Writing is communication. Your style of communication is unique to you. Experiencing and relating stories is inherent in the human psyche. We all live stories. So if you’ve experienced, if you’ve listened, then you can similarly tell a story. And if you can put sentences together that make grammatical sense, you can write a book.

5) Probably the worst thing that can happen to an artist is criticism. Criticism stops art. Invalidation and unskilled or inapplicable “constructive criticism” can kill or worse, subvert one’s creativity.

One huge risk is that external criticism gets internalized.

“Oh we don’t need any more vampire stories.” “You can’t use -ly words”.  Perhaps these words of advice are relatively true for today, but there are countless other opinions and advice that have no bearing but when conveyed as rules create a cage that can stifle creativity.

My advice on reading how-to books is either:

1) Stay away from them!

or

2) Read all of them!

That way, you’ll be able to see which advice is consistent across books, which advice is the oddball opinion of one writer, and which jealous “advice” shouldn’t be foisted upon writers at all.

In conclusion, here’s a summary of the most consistent advice I gleaned from the myriad of how-to books:

1. Read a lot
2. Write a lot

If you’ve read enough, you don’t need to study how to write.

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