Tips for Finding an Editor for Your Manuscript

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Whether you’re just starting to write a novel or you’re on your fifth revision, at some point you’ll wonder if you need another pair of eyes to review your work. Perhaps you are stuck with a dead-end plot or you’ve been rejected by numerous editors or agents who weren’t impressed with your manuscript.

Maybe you’re on your tenth attempt at rewriting your current work-in-progress, and the story still isn’t quite coming together the way you imagined. Then it may be time call in an editorial expert to review your work. Having someone else review it and give you feedback might give you insights about where the story has gone astray.

According to writer and editor Susan De Freitas during an online workshop “Maybe It’s Not Your Plot,” there are eight telltale signs that it may be time to consult with a professional editor.

Your novel is overwritten. You’ve written way more words that are required for your genre. For example, you’ve written 140,000 words for a story that should only be 80,000. As much as you love your own story, it’s filled with too many unnecessary scenes that don’t push the plot forward.
Too many drafts or versions of the same story. Most novels typically go through an average of five to seven drafts, but you’re working on the tenth and the story still does not seem finished.
You got lost in the world building. You’ve immersed yourself in a whole new world you created for your characters that you forgot about the plot and the characters.
There’s no clear ending to the story. Every time you think of an appropriate ending, you draw a blank.
The first draft is complete, but you’re not sure how to begin revising it.
You didn’t plot out your story in advance so you “pantsed” your way through the first draft. Now you have to figure out how to structure what you’ve written into a cohesive plot, but you don’t know how or where to start.
You received a lukewarm response from your beta readers or critique partners, but you’re still not sure what’s wrong with the story.
You’ve submitted it to agents and editors who have expressed little interest in publishing your story.

Once you realize that you need an editor, you’re not sure where to find a good editor. It helps to understand the four different types of editing that you might need.

Developmental editing (sometimes called story editing) which looks at the overall structure of your story.
Line editing looks at how the story is presented, such as language, pacing and how chapters end or begin.
Copy editing looks at spelling and grammar as well as the story’s timeline.
Critique/assessment reviews the manuscript and provides feedback about the story arc. It’s not as intensive as a full developmental edit, which can cost more money.

To find an editor for your work-in-progress, begin by asking for referrals. If you belong to a writer’s group or take writing classes, ask fellow writers, classmates and teachers for referrals. You can also search member organizations like the Editorial Freelancers Association to find someone who specializes in your genre. You can try searching the acknowledgment page in your favorite novels where authors usually thank their editorial team, then do a search for that editor’s background and previous work. Most editors have their own website and will describe at length the services they offer and pricing. If none of these ideas work, there’s always Google.

Before hiring an editor

There are several factors to consider when hiring an editor, said romance editor Jessica Snyder during her online workshop “How to Find Your Perfect Editor.” First, consider how much experience they have in your genre. If you’re writing a science fiction novel, your best bet is to hire someone who has edited other sci-fi novels. Someone who typically edits literary novels probably won’t be the best fit.

Ask for a sample edit. Provide the editor with a chapter and see how they review your work. What kind of suggestions do they offer? Are they positive and provide encouragement? Or are they too negative? Consider their communication style to see if it meshes well with your own.

Also ask about the editor’s process. How do they communicate criticism? What kind of timeline do they work with? Most editors require several weeks to review your novel or they may be backlogged with other projects and may not get to your manuscript right away. Pack your patience.

Cost is also a big consideration for many writers, especially those who want to self-publish. Know your budget ahead of time. Does the editor offer payment plans? How do they handle things like refunds and disputes?

If you’re on a tight budget, Snyder said it might be best to opt for a simple story assessment and copy editing pass by two different editors to keep costs down.

After reviewing the editor’s comments

Take a deep breath before reading through your edited manuscript. Feedback can often bring about strong emotional responses. You don’t want to respond to the editor with snarky comments or knee-jerk reactions. Remember, this is only one person’s assessment of your work.

Editors are guides in your writing process. Their suggestions are meant to help you create a better, stronger story structure and improve your ability to meet readers’ expectations in your chosen genre.

Also remember that editors aren’t perfect. Their edits are only suggestions. You don’t have to accept all of them if you feel strongly about something. But do keep an open mind or be willing to change your mind. Most suggestions editors make do make sense in the overall scheme of the story. If an editing comment is unclear, ask for clarification.

Most of all, remember that not all feedback is correct or appropriate. You know your story best, so use your best judgment about what edits will work with your story. I’ve had instructors and fellow writers offer feedback to my work which didn’t fit the story that I imagined. In those situations, I didn’t follow their suggestions because I didn’t feel they understood my story. But I always politely thanked them for their comments. Always respond to critiques from editors with compassion and kindness. The next time you find yourself stuck with an overwritten novel or one that garnered a lukewarm response from readers, a professional editor can steer you on the right track toward publication.

Tips for Developing Suspense in Your Novel

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When you read a book, what is the one element that keeps you turning the page? Most likely, it is suspense.

Everyone has their own definition of suspense. Some dictionaries describe it as a state of excitement, anxiety or mental uncertainty. For works of fiction, book coach Samantha Skal defines suspense as “the question asked.”

It’s an odd definition, to be sure. But think about the myriad of questions you ask yourself, however subtly or subconsciously, as you read a story.

* Will the hero stop the bomb in time or will it explode?
* Will the couple get together at the end, or won’t they?
* Will she keep her baby or give it up for adoption?
* What will they do next?

“Suspense is the engine that keeps the story going,” says Skal who spoke at a recent Pro Writing Aid Romance Week event. “It increases reader engagement, reader satisfaction and improves pacing of the story.”

There are different types of suspense. There’s the big, scary kind where the serial killer terrorizes the town. Romantic suspense teases readers with the promise of two people getting together. There’s emotional tension, too, when the main character is battling internal demons, such as guilt or resentment. Finally there’s goal tension when readers wonder whether the character will finally earn that promotion or new job.

The simplest way to achieve suspense is to put obstacles in the way of the characters. Whether you’re writing a thriller, science fiction or a romance, several techniques can be used to add suspense to your story.

Reveal inner thoughts and reactions of the main character. This is especially true if you’re writing in first person or third person close. By revealing the main character’s thoughts and perspective. In this way, readers are able to see the action in the same way and at the same time as the main character. So when the character feels tension makes an assumption about another character or misinterprets what they see or hear, readers witness that experience too. That moment when the character experiences a crisis creates tension that the readers feel.
Use hanging questions. Ending chapters with a hanging question often leaves audiences wondering what will happen next. For example, the character may ask themselves how they got themselves into such a mess, which may make readers wonder how they will get out of it. Hanging question keeps the action going, and keeps readers turning the page to find out what really does happen next. Make sure you answer the hanging questions right away, preferably in the next chapter. A word of caution though. If you have too many hanging questions in consecutive chapters, it can appear redundant. In other words, boring.
Ramp up tension gradually. Skal suggests establishing tension as close to the action as possible. Then gradually ramp up the intensity with each chapter. At the halfway point of the story, something in the story changes, moving it in a new direction. At the resolution, wrap up all loose ends. But just to be sure you haven’t lost readers’ interest, add another twist or surprise revelation at the 95% mark.
Emotionally manipulate your readers. Skal says it’s okay to do that since most readers expect certain things to happen at certain times in the story. In mysteries, for example, readers look for the mystery to be solved. In thrillers and suspense stories, they want to feel a low-grade fear the whole time, and they want to feel their heart racing.
Be intentional about what you reveal – and when. Details about a character’s backstory, family history, and personality should be sprinkled throughout the story, when it makes sense to a particular scene. If you reveal everything at one time, it can be overwhelming for the readers. Also remember that if you mention a detail early in the story, it should have a purpose later on. For example, if your character notices a clock that has stopped early in the story, that detail should come into play later on.

Without suspense, your story won’t keep readers interested until the very end. By paying attention to these techniques, you can create stories that will keep readers turning the page.

Fiction writing–one episode at a time

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I had never heard of episodic novels until I read a post by Donald Maass on Writer Unboxed recently. Funny thing is, after reading Maass’s article, I realized I had read a few episodic novels. I just didn’t realize they fell under that category. But I did notice how different they were in the way the stories were told.

While traditional novels take a linear approach to storytelling with each scene leading into the next, episodic novels are told as a series of self-contained stories around a central theme, place or character. Think of a TV series in which there is the same cast of characters each week, but each episode centers around a different problem, like Friends, Cheers or Mash. Episodic novels are told in much the same way. Each episode can stand on its own as its own story, but it still propels the overarching plot forward.

Here are a few examples:

* The Hobbit was written by J.R.R. Tolkien to entertain his children. Each chapter (or episode) could be read to them before bedtime.

* The story of Olive Kittredge is a character study. Each episode of Olive’s life is told from different perspectives, sometimes from a different character who interacts with her. Each story reveals a different side to Kittredge’s character.

* In The Red Garden by Alice Hoffman, the focus is not on a character, but on a thing – a garden that appears to grow from reddish earth beneath it. The story spans several generations featuring the various owners of the garden and their relationship to it.

* Toni Morrison’s The Bluest Eye is another character study of one girl’s unfortunate childhood. The story is never told from her perspective but as accounts from people in her life who interact with her.

Episodic novels can be children’s stories like The Hobbit or Huckleberry Finn. They can be coming-of-age like A Tree Grows in Brooklyn or To Kill a Mockingbird. They can be adventure stories, stories of journeys to distant lands, like the Arabian Nights. Or they can be character studies like Olive Kittredge, or an exploration of a time or place, like The Red Garden. Here’s one list of episodic novels but I’m sure you can find other examples.

Note that episodic novels are not the same as a series novel. A series novel consists of several complete books that follow in sequence, such as Harry Potter. Episodes are self-contained scenes within one book, but they are still integral to the plot. Each episode connects to the episode before and after it.

TCK Publishing describes four key elements of episodic plot:

Episodes are distinct but are logically connected.
Each episode contains elements of plot (conflict, rising action, climax, resolution, etc.)
Episodes contribute to the overall plot of the story without impacting any other episodes
The common theme binds the episodes together.

Another common characteristic is that episodic novels tend to be presented in chronological order. So though the episodes might be told by different characters describing the same incident, the story is never out of sequence.

I admit this might seem a bit confusing. After all, episodic novels seem to break all the basic rules of storytelling, and it does not follow a linear structure. Try reading a few of these stories to see how they are different from traditional novels. Think of it as one more way to tell your story.

Then if you feel brave enough, pick up your pen and try writing one. Remember to focus on one specific character, place, or moment in time. Then like a TV screen writer, create individual episodes that can stand on their own while moving the overall story forward to a satisfying conclusion. Writing an episodic novel (or making a valid attempt to do so) may be the most challenging thing you ever do.

Tips for Pre-Planning Your Novel

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Writing the first draft of a novel is the easy part. Revising it is the hard part. The next hardest, I believe, is pre-planning your story.

Sure, you can begin drafting the story as you see it in your head (as I usually like to do). But most authors have to do some pre-planning to know what they will write about in the first place. Otherwise, you can get through six or seven scenes then draw a blank about where the story will go next.

Pre-planning is important for several reasons.

It helps you know how your story will begin – and end – and the major plot points in between.
It helps you understand who you protagonist is, what they most desire and what is getting in the way of getting what they want.
It helps you figure out who the other characters are and what their motivations are.
It helps you get a clear idea of the back story and setting.
It helps you understand how the story will progress, and how the tension will develop.
It helps you organize your notes so that you’re not stopping and starting your writing.

There are different approaches to pre-planning depending on the type of writer you are. If you’re a planner, then pre-planning will come naturally to you. The downside is you may get so caught up in the pre-planning, that you delay starting your novel.

If you’re a pantser like me, you prefer to write intuitively, letting the scenes and characters show up organically. However, even among pantsers, pre-planning can help you organize your ideas and give some structure to the story before you begin writing. The good news is the pre-planning process provides a skeleton layout of your story while giving it enough flexibility to allow new characters and scenes to develop.

There is no right or wrong way to plan your novel. It all depends on how much planning you like to do ahead of time. Some plans are more detailed than others. But there are a few common steps.

Know what kind of story you want to write, and who your audience will likely be. Do you want to write a mystery? Women’s fiction? Literary? Or historical fiction?
Write the story’s premise in 1-2 sentences. You might consider playing the game “what if” to come up with different scenarios for your story. For example, what if a rising figure skating star is kidnapped as a revenge against her father and the skater’s coach must work against the clock to find her? Be sure the premise hints at the conflict.
Write a bio of your protagonist. It might help to write it in their voice so you can easily get inside their head. What is their greatest desire? What or who is getting in their way of getting it? Who are their friends and family? Know your protagonist inside and out.
Brainstorm different scenes. Just jot down the ideas for each scene in 2-4 sentences. You’ll flesh them out more fully later.
Create a timeline for your story. Does it take place over several days in a thriller? Or several years as they might in historical fiction. Understanding the timeline ahead of time helps you figure out when each scene will occur in relation to one another. Otherwise you’ll have to address the timing of events in the revision phase. (I highly recommend this step. I wish I had done this with my current work in progress.)
Know your audience. This can be several sentences. Who are your potential readers? What else do they like to read?
Do your research. If you’re writing historical fiction, this is especially important to understand the setting and customs of that time. But even if you’re not writing this genre, some research is needed. Do any of your characters suffer from a rare medical condition? You’ll need to know the symptoms and treatment. What types of poison are least likely to be detected? You’ll need to know the answers before you begin writing.
Begin writing. You can start anywhere in the story. I find it helpful sometimes to write individual scenes that you can see in your imagination. You can always figure out where it will appear in the story later. Another option is to begin at the end. Writing your ending first can help you figure out how to start your novel. If you know your protagonist has to end up at Z, then you know you have to have her begin the story at V, and get through W, X and Y.

You’ll find numerous resources and articles about planning your novel on the internet. There are numerous approaches, and you may have to experiment with several of them before you find one that works for you.

Good luck and happy writing!

Storytelling Lessons from Hallmark Movies

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Say what you will about Hallmark movies. You either love them or hate them. Or somewhere in between.

When I discovered Hallmark movies in 2015, I was going through a difficult period of my life. These movies helped me see that there are happy endings to stories. Certainly I could find a happy ending to my own, right?

Still if you’re aspiring writer of fiction, especially romantic fiction, you might want to watch a few of them. You might learn a few tips and tricks about storytelling.

There is nothing scientific about my observations below. They are strictly subjective based on my life perspective. Be free to agree or disagree with these lessons.

Create compelling characters. While Hallmark characters might lead idyllic lives compared to our own, they are flawed and often misguided. While their own troubles aren’t nearly as traumatic as some of the ones you or I might face, they are very real to them. For your own fiction stories, create characters with depth – depth of emotions and motivations. What is their greatest desire? What obstacles stand in their way of getting it? What false belief or assumption have they been living with that prevents them from finding happiness? These are some of the questions you need to ask yourself about your lead characters so you can make them more believable on the page.

Create closure for characters. In Hallmark movies, there’s always a happy ending. I like happy endings, especially ones that are wrapped in brightly colored ribbons and bows. I want to see the characters solve their problems in a way that makes sense for them. You may not have a story that ends with a passionate kiss, but it should end with all loose ends tied up.
Find humor in everyday situations. While some of the Hallmark movies border on silliness, the lighthearted spirit of these films appeals to audiences. The best humor comes from everyday — and sometimes embarrassing – events. Like someone walking out of the bathroom not realizing with a piece of toilet paper stuck to the bottom of their shoe. That kind of stuff happens in real life, and readers can relate to them. Even if you’re writing a film noir or a horror story, a little humor can lighten the mood. When Buffy the Vampire Slayer utters a sharp wisecrack just when she’s about to put a stake in a vampire’s heart, it makes for satisfying entertainment. Think about how you use humor in your own stories, but don’t add it just for humor’s sake.

Story lines don’t have to be overly complex to be effective. Surely, the plots for Hallmark movies are rather simplistic and not necessarily innovative. But they still work. There’s still an inciting incident (when the two romantic leads meet), a build-up of suspense and a climax when the two romantic leads finally come together.
Avoid predictability. The knock on Hallmark movies has been that they are predictable, often rehashing the same story lines over and over. If you have several manuscripts in various stages of completion, make sure they’re not the same plot rehashed with different characters and settings. Readers expect more than that. Be surprising. Show them a twist that they may not have seen before. Introduce a character with an unusual background or trait. Write something unexpected to keep readers wanting more.
The best stories tug at the heart strings. If there’s anything that Hallmark does excel at, it’s creating heart-warming stories. You don’t have to write a romance novel to bring heart into your own story. Any work of fiction should touch the heart of your readers. Start by crating characters that you care about. If you care about them, readers will too. Then add a plot that is real and honest. You’ll have readers following your every word.
Create a compelling title. I find most of the Hallmark movie titles either aren’t memorable or they lack connection to the plot. They’re more cute than accurate. When you come up with a title for your own manuscripts, think of something that adds a meaningful connection to the story and at least hints at what the story is about.

Whether you write romance, mystery, or something else, put a little heart into your stories by including these key elements. Your readers will appreciate you for it.

Nine Lessons I’ve Learned on My Writing Journey

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After a brief hiatus, I’m back to writing for The Regal Writer. The time away has cleared my head. I’ve been writing this blog since 2016, and I found that I was running out of story ideas. I’ve had a lot of time to think about my writing journey, and I wanted to share what I’ve learned with you. Hopefully, my lessons will resonate with you.

Lesson 1: It’s never too late to begin your writing journey.

I’ve dreamed of writing a novel since I was in my 20s when I dabbled with a few story ideas. But nothing concrete ever took shape. Once I got to my 50s, well, it seemed all the more pressing to begin the process. So I took a few classes to learn about the writing process and experimented with different storytelling techniques. I realized early in this journey that I was not alone. I’ve met several new writing friends along the way with similar goals. I also learned that numerous other authors were late bloomers. Laura Ingalls Wilder wrote Little House on the Prairie and its series at age 65, Bram Stoker wrote Dracula at 50 and Raymond Chandler penned his first novel The Big Sleep at 51. I figured if they could find success, so could I.

Lesson 2: Read widely in different genres.

One of the first books I read about the writing life was On Writing by Stephen King, which I highly recommend. The book freed me to start this writing journey and to take chances with my writing. One piece of wisdom he shared was to read and to read widely, not just my chosen genre but others, because reading is the best way to learn about crafting stories. My library is stocked with everything from non-fiction, romance, literary and the classics. There is something to learn from each one.

Lesson 3: Keep learning – and growing.

Much like reading books of different genres, it’s important to keep up with your education about writing. It seemed that the more classes I took and the more articles I read, the more there was to know and understand about writing. I’m still learning and growing, and I expect I will continue for as long as I call myself a writer. I have also learned that the best education was the actual process of writing. The more I experiment with ideas and characters and plot lines, the more I’m learning about the craft of storytelling. You learn best by doing.

Lesson 4: Fiction writing is very different than writing for the business world.

I’ve enjoyed a successful career as an editor and communications professional. I’ve seen my work published in association publications and earned a byline. But I quickly learned on this journey that writing fiction is a very different animal. Like other newbies, I had to start at the bottom and learn how to craft a story, how to create the plot, develop characters with depth, and how to create suspense that will satisfy readers. It’s been a long, arduous process, and I’m still working on it. That said, writing fiction is more fun.

Lesson 5: Don’t be afraid to experiment with different writing styles.

When I began this journey, I had yet to settle on novel writing. The first classes I took focused on essays of about 1,000 words. The hardest part of this experience was revealing personal details of myself, which made me uncomfortable at times. I wondered if essays were the best avenue for me. I experimented with other styles – short stories, novellas, and eventually worked my way up to a full novel. I’ve dabbled with writing suspense, romance and women’s fiction, because I enjoy reading all those types of books. Experimenting with the different genres and lengths helped me determine that women’s fiction is probably the best outlet for my talents.

Lesson 6: Don’t be afraid to fail.

I once heard those words of advice from someone interviewing me for a job some years ago, and they’ve stuck with me ever since. In writing, it’s easy to fall into the mind trap that I’ve failed just because I never finished a manuscript or an editor rejected your latest piece. But no writing effort is ever a true failure. There’s always something to be salvaged from the manuscript – a piece of dialogue or a character with a unique perspective – that you can adapt to another piece of work. In writing, the only true sign of failure is giving up. Which leads to lesson 7.

Lesson 7: Never give up on your writing dreams.

I’ve had this dream of being a writer since I was in my teens. I’ve had teachers who encouraged me along the way. While I didn’t write a word for a couple of decades while I focused on my career, built a home life and enjoyed a social life, I was still compiling life experience. When I was ready to write again, I had plenty of fodder to draw from. So if you’re grappling with how to fit writing into your life, all I can say is there are ways to make it happen if you want it badly enough.

Lesson 8: Finishing the first draft is easy; it’s the revision process that is most challenging.

With several manuscripts in various stages of completion, I can honestly say that drafting stories is so much fun. I may sketch out the first few chapters, then begin writing. That’s when my imagination takes over. Characters show up that I never envisioned and plots develop in unexpected ways. It’s when I get to revising, shaping it into a marketable piece, that the hard work begins. That’s when I need to arm myself with patience to get through the often slow, painstaking revision process.

Lesson 9: It’s not the destination; it’s the journey. Enjoy the ride.

As I mentioned above, once I begin writing, I allow my creative muse to take over. My hands on the pen or keyboard are only the conduit for the words that come. It’s that part of the process that I enjoy most. I rarely think about what the end goal is. Maybe I’ll get my work published, more likely I won’t. But I relax and enjoy the process all the same. Don’t worry about what the end looks like, just enjoy the ride. Hope these lessons inspire you to keep writing.

Intuition May Be the Key to Better Writing in Less Time

April 1, 2021 ~ The Regal Writer ~ 2 Comments

“Intuition, which is also fundamental to writing fiction, is a special quality which helps you to decipher what is real without needing scientific knowledge, or any other special kind of learning.”
Gabriel Garcia Marquez, author of One Hundred Years of Solitude

Have you ever begun writing a work of fiction with a clear idea where you want to go with it, only to see it head off in a different direction, seemingly all on its own? New characters showed up you hadn’t dreamed of, and they were more complex and interesting than the ones you had originally outlined. New scenes that you hadn’t planned evolved in your imagination that made the story more suspenseful.

Or maybe you began writing an essay about a certain topic, say a generic one about motherhood. As you began writing it though, a different idea took hold, perhaps about becoming a new mom during the pandemic. When you began writing that new essay, the process came easily, seamlessly, and the words flowed. You could almost visualize every word before you wrote it.

You can’t explain what happened in these instances or why. Only that you were guided by a little voice inside that instructed you what to write. Some describe that little voice intuition.

Ask any writer how they define intuition, and they’ll give you a variety of answers.

Colleen Story at Writing and Wellness blog calls it your “writerly instincts,” that inner knowing that you have about your work.

“When a scene works right, you’ll feel it in your bones. You’ll experience a ‘yes’ moment,” writes C.S. Lakin at Live Write Thrive blog. “Conversely, when a scene or character feels out of place you know that too. The more you try to rationalize it, the stronger the ‘No’ becomes.”

That’s why it’s important to listen to your body, Lakin says.

That inner knowing that something is off in your writing is common among writers, especially those whose level of intuition is high. Intuition is that internal sensor of what is going wrong with your writing – and what is going right. It’s there to redirect your efforts so you make smarter choices about plot structure, character and dialogue, even the right word choices.

Listening to the inner “knowing” can build your confidence too. “A well-honed writing intuition can free you from much of the emotional volatility you experience when someone is ‘dissecting your baby’. It means developing greater confidence in your work, disengage from negative emotions and response patterns because you see wisdom in the feedback you get,” writes Angela Ackerman at Writers Helping Writers.net.

No matter what you call it, intuition can serve an important function during the writing process.

Whether we believe it or not, we are all born with intuition. It’s just that many of us tune it out or don’t pay attention to it. Some writers might ignore that voice, and stick to the story line they created in their outline. Others embrace it freely, allowing their intuition to guide their choices during the writing process.

The worst possible scenario is recognizing that it exists but not trusting it. When you don’t trust that inner “knowing,” you may ignore the power it gives you to improve your story.

I can’t tell you how to trust your intuition more. That’s up to you to figure out. But there are several things you can do to enhance your intuition so that it’s accessible and sharper. For starters, you have to learn to practice mindfulness. (These suggestions are also helpful for overcoming writer’s blocks and getting out of ruts.)

1. Take frequent breaks from your work-in progress. Time and distance gives you better perspective. If you feel stuck, set it aside for a day or two. When you come back, you may notice solutions you hadn’t thought of before.

2. Enjoy the outdoors. Being in nature can help you clear your head and perhaps inspire you to write something completely different. Keep the headphones at home too.

3. Practice meditation. Sit quietly on the sofa with your feet planted firmly on the floor, or sit cross-legged if you prefer. Lay your hands in your lap and close your eyes. Let your breathing slow. Follow that breath. As your breath slows, so does your brain. Release every distracting idea that crosses your mind.

4. Do something else for a while. Work on another piece of writing, read a book, or take a nap. Maybe putz around in the kitchen or clean out a closet. The act of doing something else will engage you brain in other ways.

5. Immerse yourself in water. As strange as it sounds, water can release the tension in your brain as well as your body. Go for a swim, wash dishes or take a bath. In astrology, water is associated with creativity. Immersing yourself in water can help you re-engage your creative side.

6. Tune in to your body. During your walks or meditation or during any quiet moment of the day, sit quietly and notice what is happening with your body. Notice any aches and pains, any stiffness, or any other physical ailments. How does your body feel when it’s relaxed compared to how it feels when you feel tension? It’ll show up in your body in places you didn’t expect. Your body will tell you when something – whether it’s in your personal life or your writing life. Pay attention to those signals that it sends you.

A funny thing happens when you trust your writing intuition. The writing seems to flow more easily, the characters are more complex and nuanced, and the dialogue more interesting. Ultimately, listening to your intuition – and trusting what it tells you – can help you write more engaging stories.

Novel Beginnings: Eight Tips for Writing a More Compelling Opening Chapter

November 3, 2020 ~ The Regal Writer ~ Leave a comment

Photo by Andrea Piacquadio on Pexels.com

If you have ever read The Nightingale by Kristin Hannah, you probably remember this opening line:

“If I have learned anything in this long life of mine, it is this: In love, we find out who we want to be; in war, we find out who we are.”

I’d be hard pressed to find any opening more poignant than this one. From the very start, readers are taken on an emotional journey that doesn’t end until the final sentence.

Writers are tasked with the challenge to create a similar experience with their readers. The start of any novel should accomplish several things: create the tone of the story, provide the point of view, reveal character, and show tension and conflict, among other things. Certainly, the opening line from The Nightingale accomplishes most of these objectives. Does your story do the same?

Why is the opening so critical? Because if it doesn’t grab the reader’s interest and keep it for the first few pages, the reader will likely close the book and set it aside, never getting to the end of it. Ask any published author, editor or agent what makes a strong opening, and you’ll hear a number of answers, which are summarized below. And these suggestions don’t just pertain to fiction, but to short stories, memoir and non-fiction works too. Without a compelling start, readers will dismiss your effort.

If you are participating in NaNoWriMo (National Novel Writing Month), it might be helpful to keep the following suggestions in mind as you write the opening of your novel.

1. Skip the prologue. There is ongoing debate about the merits of a prologue. Many editors and agents feel they aren’t necessary. I tend to agree with them. I’ve rarely read a prologue that made a difference in my understanding of the plot. The one exception is Caught by Harlan Coben, which provided sufficient background on one of the main characters to make you second guess the outcome. But if you plan your story well and write the opening pages right, there shouldn’t be a need for a prologue.

2. Create a protagonist that readers will care about. The opening is your opportunity to reveal your protagonist’s character. Is he/she rebellious, angry, ambitious or curious? In the above opening from The Nightingale, the character speaking is introspective and perhaps has gained wisdom from life experience. It makes me care about who she is and what else she (and it is a she, btw) might have to say.

3. Ground your reader in the story’s setting. According to the Write Practice blog, let readers see where the story takes place. Establish early on what the setting is for the story – the time period, the location, the season of the year, etc. When the reader feels grounded in the setting, they feel mentally prepared to experience the events as the characters do.

4. Create conflict and tension. Identify what the inciting incident is – that starting point to your story that changes the status quo. Where is the conflict? Is that conflict with another character, with a situation or within themselves? That conflict is needed to create tension, which helps draw readers in and keep them reading to see how the conflict is resolved.

5. Don’t frontload with dialogue or action. According to Fuse Literary, too much action or dialogue can confuse readers. Sure, you want to start with some sort of action, but an opening chapter heavy on action and dialogue and not enough narrative or backstory can be confusing to readers who may need a point of reference to understand what is happening on the page. You need some action, of course, but balance it with some narrative so you don’t lose readers’ interest.

6. Don’t overload the opening with backstory either. According to recent Reedsy webinar, Crafting a Novel Opening, writers should focus on what the reader needs to know at that moment. There’s plenty of time to reveal backstory and world building as the story progresses, says Shaelin Bishop who led the discussion. Weave in backstory throughout the length of the manuscript, and allow details to breathe between scenes. This approach will help with the pacing too. If readers are overloaded with details up front, they may feel overwhelmed.

7. Hook the reader with an interesting twist. Start where the story gets interesting, which is usually at the point where there’s a change in the status quo. For example, the protagonist gets a letter with good news or bad news, a new person enters the protagonist’s life, or they get into an accident that alters the course of their life. “Show what is interesting rather than focusing on the mundane. It’s okay to show less of the status quo than you think you need to,” says Shaelin Bishop with Reedsy. This approach avoids overloading your opening chapter with too many details that can bore your reader.

8. Every scene should serve several purposes. For example, one scene can establish the tone of the story, reveal something about the character and hint at future conflict. This sounds complex, but it’s necessary to keep the story moving forward and keep readers interested. Don’t waste your first sentence, or any sentence for that matter. Write every scene with a purpose in mind. If it doesn’t serve purpose, and if a character doesn’t serve a purpose, cut them out.

To get into the habit of writing stronger openings, try these two exercises.

Exercise 1: Take 10 minutes and create as many opening sentences as you can think of. It could be for a current work in progress or any other story. Experiment with different perspectives. Here are a couple of examples of intriguing openings that made me keep reading:

“You would think it would be impossible to find anything new in the world, creatures no man has ever seen before, one-of-a-kind oddities in which nature has taken a backseat to the coursing pulse of the fantastical and the marvelous. I can tell you with certainty that such things exists ….”
The Museum of Extraordinary Things, Alice Hoffman

“My name is Serena Frome (rhymes with plume) and almost forty years ago I was sent on a secret mission for the British Security Service. I didn’t return safely. Within eighteen months of joining, I was sacked, having disgraced myself and ruined my lover, though he certainly had a hand in his own undoing.”
Sweet Tooth, Ian McEwan

Exercise 2: Select five novels from your collection that you enjoyed reading. Go back and read the first page from each one. What made you turn the page? Why did it grab your interest? Did it reveal anything about the setting, tone or character? Did it create tension and conflict? What can you learn from these first pages that you can adapt to your own work?

Hope you find these tips and exercises helpful.

How to Juggle Multiple Writing Projects Without Losing Your Sanity

August 26, 2019 ~ The Regal Writer ~ Leave a comment

Like most writers I know, I tend to work on several different writing projects at one time. In addition to writing this blog, I’m currently writing a novel, I have several essays in various stages of completion, and I just completed a freelance writing assignment for a client. The work certainly keeps me busy, but sometimes it can be difficult to keep them all straight. If I decide to work on one project, it means I can’t give my attention to the others.

Add to that all the extra administrative and marketing work that goes along with writing for a living, and you can see how easy it is to get overwhelmed.

There’s a constant struggle to maintain balance in my work schedule. Every morning, I ask myself, “Which piece should I work on today?” It’s a problem I don’t mind having because the alternative is spending hours in an office doing work that sucks the life out of my soul.

However, managing multiple projects does have a few upsides, writes author Heather Webb at the Writer Unboxed blog. It alleviates “manuscript fatigue,” she says. Switching between projects prevents you from getting too tired of one project. After a few days away from it, you can come back to it with fresh eyes.”

Having multiple projects also takes the pressure off of trying to create the “perfect” piece, Webb adds. Since you’re not putting all your eggs in one basket, you have more freedom to experiment with your writing. That can only help you produce better quality writing.

Managing multiple projects has its upsides, but it has plenty of challenges too.

Challenge 1: There’s a limited amount of time to work on any one project.

When you’re working on several stories at once, you don’t have as much time to work on each of them as you’d like. Obviously, the paid work comes first because there are deadlines, and if you don’t make those deadlines, you don’t get paid. Once you submit your paid piece and return to an essay that’s closer to your heart after an extended time away from it, it can be difficult to get back into the flow of the story again. You can begin to feel disconnected from the story altogether.

Solution: Re-read the last chapter of your novel, the beginning of the essay or review your notes. These are obvious starting points that will allow you to pick up the thread of the action. With fresh eyes, you might even resolve a plot point or come up with a new character.

Challenge 2: Characters and story lines can blend in with one another.

Sometimes characters and protagonists begin to blend in with one another when you switch from one story to the next too often. This is even more disconcerting if those stories happen in different cities or eras of history.

Solution: Much like challenge #1, re-read the previous scenes to get inside the character’s mindset, or as Webb suggests at the Writer Unboxed blog, try journaling in the character’s voice to get inside their head again.

Challenge 3: Creative burnout can occur.

When working on many projects, or worse, when you’re up against multiple deadlines, things can get a bit crazy. Working at that level of creativity for too long can produce creative burnout, writes Mark McGuinness, author of Productivity for Creative People (a book I definitely must read). That’s not a sustainable routine for the long term. (See this article in The Write Life for details.)

Solution: Create a sustainable workload by limiting yourself to two to four writing projects to keep yourself sane. Make a list of the most important activities you need to work on, such as client work, family obligations and recurring tasks. These activities form the base for your time obligations. Next fill in what’s left – your spare time – with one or two writing projects. That approach, says McGuinness, will give you the time and space you need to work on what’s important to you while keeping you sane.

While it’s easy for writers and creative professionals to have several projects going on at the same time, it’s not so easy to manage them efficiently without ruining your life. When you set priorities and allow some downtime to transition between stories, you can manage multiple writing projects with greater ease and better results.

How to Give Writing Feedback — Thoughtfully and Effectively

June 28, 2019 ~ The Regal Writer ~ Leave a comment

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Whether you’re part of a writer’s group or manage a department of creatives, you may be called upon to give feedback about someone else’s work. It can be doubly difficult to critique someone’s work, especially if you like and respect that person. You don’t want to upset them or discourage them from writing more. On the contrary, you want to provide feedback that will challenge them to produce better work.

Most experts agree that it’s important to provide some positive comments along with negative feedback. Critiques without positive comments can be devastating to creative types, who are naturally sensitive about work that they’ve poured their heart and soul into. Negative critiques can make writers feel their work has no redeeming value, and they may be tempted to give up writing altogether. There is always something positive to find about someone’s work. A good editor will see it and won’t hesitate to share it.

So what’s the best way to handle critiques? How can you provide meaningful feedback that supports and encourages other people to produce better work without crushing their soul? Here are a few tips for giving effective feedback.

1. Read the piece thoroughly. If it’s a shorter piece, like an essay or news article, read it several times. Here’s how I like to assess a written work: The first time through, I read to get the gist of the story. During the second reading, I make notes about technical issues, like grammar, punctuation and run-on sentences. The third time through, I make notes about content issues. Are there confusing plot points? Does the story flow seamlessly, or are there sticking points where nothing appears to be happening? It’s usually during that third reading that the biggest issues pop out like a neon sign. If possible, avoid reading the piece right before meeting with the writer. It simply does not allow enough time to mull over the writing.

2. Find the story’s good qualities. Don’t just focus on mistakes and confusing content. Start with sharing the positive qualities of the story. Some managers and editors have used the sandwich method for critiquing a person’s work — couching negative feedback between two positive statements. According to the Grammarly blog, some editorial experts claim that this method isn’t effective in providing constructive criticism. I see nothing wrong with this approach, however. I suspect that its lack of effectiveness has more to do with not properly communicating constructive feedback.

Here’s how the sandwich method works:

“I love your story idea. I think it’s sharp and witty, and a lot of people will appreciate the humor. However, I noticed a tendency for run-on sentences. Perhaps you were thinking faster than you could write? Sometimes it helps to read aloud your story so you notice those run-on sentences. Once you fix those run-on sentences, I think you’ll have a stronger story..

You notice that I not only pointed out the weakness of the story, I offered a suggestion for fixing it.

3. Choose your words carefully. According to the Balance Careers blog, it might be helpful to begin statements with “I” rather than “You.” The “you” focus can be perceived as a personal attack, which you want to avoid. Focus on your own response to the story. Instead of saying, “Your story is boring,” say “I found the story boring in some sections.”

Be honest with your critique, but approach it with the intent of helping the writer improve their work. Always offer suggestion or tips, but refrain from directing the writer how to fix things. Respect them enough to give them space for resolving their own writing issues.

4. Provide detail… Don’t just mention the issue, but provide some detail. Don’t just say, “I thought your story was boring.” Explain why you thought it was boring. Was the entire piece boring to you, or just one or two paragraphs? Was there too much narrative when you were looking for more dialogue? Did the story need more conflict? Did the story move off on a tangent that was difficult to follow and had nothing to do with the story? The more feedback you provide can help the writer analyze their story with an eye on improving it.

5. …But don’t nitpick. You might notice a lot of things wrong with the story. In that case, for the sake of your working relationship, focus on only one or two things that the writer can easily fix. Remember, your role is to provide helpful, practical suggestions.

6. Call out recurring mistakes right away. If you have read several pieces by the same writer over time and notice that they tend to make the same mistakes over and over again, you need to call them out right away, suggests the marketing experts at Hubspot. Don’t just fix the problems for them without mentioning it. If necessary, make the correction and show it to them so they see how to fix it. The only way they will learn not to make the same mistakes again is to make them aware of them in the first place. The sooner you mention those errors, the sooner they can learn to correct them on their own.

7. Ask questions to guide the writer. According to Grammarly, when you ask the writer questions about their work, it gets them to thinking about how to solve their own writing issues. It guides them to resolve the issues on their own rather than you telling them how to do it. For example, you might suggest, “Is there a way to simplify this paragraph, perhaps edit it for shorter sentences? It might make the story easier to read.”

8. Don’t make it personal. Critique the work, not the writer. Set aside whatever personal feelings you have toward the writer and focus on the work in front of you.

Remember these are works-in-progress, not finished pieces. Your job is to provide feedback to help the writer improve their work and sharpen their skills. Think about those times when you’ve had your own work critiqued. How did you feel when you received feedback? Did you feel deflated and discouraged, or were you energized and excited about moving forward with your story? Be the editor you’d like others to be with your own work.

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