Grammar = No Tears

A popular post from May 2009

Have you ever shed tears over grammar? Or maybe you've been in denial that you need help . . . You'll find relief with Annette Lyon's newest book: There, Their, They're: A No-Tears Grammar Guide From the Word Nerd.

Only Annette could pull this off! Congrats!

And if you're interested in this easy-to-follow grammar guide, you can find it here.

Misplaced, Dangling Fun

A popular post from October 2008

by Annette Lyon

Time for another post with self-editing fun. No, really. This time it is fun. Today's topic is one that's easy to giggle over, at least when you find the mistake in someone else's work (or before yours gets in front of an editor).

Let's laugh with some misplaced modifiers and dangling participles!

So what is a misplaced modifier? It's a noun (or pronoun) or phrase—basically any descriptor—that's in the wrong place for what it's supposed to be describing. Often that means it's too far away from it, or at least that something else is in the way.

Don't let the terminology scare you. Dangling participles are just a specific type of misplaced modifier. I won't go into the differences between the two. Instead, I'll lump them together.

Try this sentence on for size:

Joe went on the ride with my sister called The Raging Flame of Death.

Hmm. That's not a sister I'd like to hang out with. Oh, wait! The ride has that name. In that case:

He went on the The Raging Flame of Death ride [or the ride called The Raging Flame of Death] with my sister.

Other funny examples:
Two computers were reported stolen by the high school principal.
(That's one unethical principal . . .)
The anchor reported a coming lightning storm on the television.
(Get AWAY from that television!)
Please look through the contents of the package with your wife.
(Must be one huge package if she fits in it.)
James hadn’t meant to let it slip that he wasn’t married, at least to his boss.
(Wait. His boss is Mrs. James?)
Quiet and patient, her dress was simple, yet stylish.
(Let's hope her dress wasn't loud and impatient.)
At the age of five, her mother remarried.
(Um . . . doubt that's legal in any state. And she certainly wasn't a mother then.)
These little nasties are painfully easy to drop into your work without you even knowing it. Basically they happen when you've used an action and then the subject that belongs to the action is put into the wrong place.
The result is most definitely a meaning you didn't intend.
One of the most common forms is relatively easy to spot: look for sentences that open with an "ing" phrase. (These are the most common dangling participles, if you care about that sort of thing.)
Turning the corner on a bike, a huge dog startled him.
(Apparently that's a dog with serious coordination skills.)
Driving through town, the grocery store appeared on the right.
(Freaky store. And just how big is that car?!)
And here's one of my favorite dangling participles (which I found in a New York Times bestseller that shall remain nameless, even though it was just too funny):
Being my father, I thought he'd be more upset.
(Now THAT is one amazing genetic trick . . .)
You get the idea.
Misplaced modifiers and dangling participles can sound scary and intimidating, but in reality, they're easy to fix. Just make sure the action in your sentence is really attached to the person or thing doing it.
This is one of the many things you don't need to worry too much about in the drafting stage. It IS, however, one of those things you should try to catch in the revision stage. One great way is to read your draft aloud. The stresses and pauses will make you recognize when something doesn't quite sound right. Pick some trusted readers to ferret out these kinds of bloopers as well.
Your future lack of embarrassment is most definitely worth the effort.

Moving Past the Re-editing Block

A popular post from October 2008

by Annette Lyon

Reader question:

I've been having the same problem for a long time. Whenever I write a few pages, I cannot resist the urge to re-write them again and again to the point that I end up throwing them out and starting over. I know I'm not going to get anywhere with my manuscript if I keep this up, but I still can't resist doing it.

I was wondering if I could get a little advice on how to curb my desire to edit and re-edit and re-edit.


On one hand, it's not uncommon for writers to reread what they wrote yesterday, tweak it a bit, and get into the groove again before going on to the next scene. But of course, doing so is useless if you don't keep going. Getting back into the groove is a different animal from reworking chapters to death and then throwing it out and never making progress.

First and foremost, it sounds like your internal editor/censor is yelling at you all the time. If that's the case, your editor will continue to hold back your creative side. The critic isn't a good writer. It's a good editor. Your writer brain needs freedom and creativity, but it's being strangled by your critic.

You do need your critic, obviously. But at the right time, not all the time, and most definitely NOT when you're trying to get out of the gate and finish a manuscript in the first place.

Just like every writer finds their own way to get into "flow," every writer has to discover their own way to silence the critic when it's not time to edit. I wrote about the inner critic here, and that post might have some ideas to help you out.

But there are other things you can do as well. The creative brain is difficult to tame, and at times, you have to trick it to behave.

Here are a few ways to trick the critic into going back into its cave:
Give yourself permission to write garbage. In fact, make a point of writing garbage for a day or two (or a page every day), just to prove you're capable of it. This kind of exercise stumps the critic (Wait, it's supposed to be bad? Then what can I yell about?) and gets him to move aside.
Write out of order. If you have a basic idea of where your story is going, there's no reason you're obligated to write chapter one and then two and then three. Do you know what the exciting climax will be? Write it today. Have a scene you're especially excited about getting to? Put it down now. You can always bridge the scenes together later. And sure, the parts you write this way may need changing when you reach them the "real" way. But who cares? You're making progress.
This trick is another way of putting the critic off-guard. He has a hard time knowing what to do with the situation (and how to yell at you because of it), because it's not what's "supposed" to come next.
Write on a different computer than the one holding your manuscript. Walk away from your PC and borrow a laptop. Heck, use plain old notebook paper. Use whatever, just so long as it doesn't have the rest of your manuscript on it. Forcibly cut yourself off from the rest of the book so you can't keep tweaking it. Instead, you have a fresh screen or piece of paper waiting for the next part of the story. Paste the new scene/s into the file later. (Then save and close the file. Do not tweak!)
Even better, use an AlphaSmart Neo or Dana. The Neo does the same things as above (keeping you away from the rest of the file), but it has an additional perk: since you can see only a few lines of text at a time, you're less likely to go back for tweaking even during today's drafting session. As you type away, you're mostly oblivious to how many words or pages you've written, and you get lost into the story itself.
Set specific goals and attach rewards to them. It's shocking how well this works. While you do want an overall goal ("Finish this book by my birthday"), getting past the re-edit-treadmill type of block takes smaller goals. ("I'm going to write 1,000 words a day.") Reward yourself with something small and concrete whenever you reach a goal. It can be your favorite treat from Cold Stone, a DVD rental, a nap, or the latest episode of The Office. Whatever is enough of a carrot to keep you going.
Withhold something. This is the flip side of rewards. Our own Julie Wright often puts a book she's dying to read on top of her desk but doesn't let herself crack the cover until she reaches a writing goal. Once when I was bemoaning a big revision, my husband challenged me to have no chocolate until I got through a six-inch stack of manuscript critiques. That one got me moving fast! Something I'd been avoiding for weeks was suddenly done during a weekend. Motivation is an amazing thing.
Best of luck getting off the re-editing treadmill and reaching the end of your book! You can do it.
Readers: Have additional ideas? Let us know in the comments!

Resources for Writers

A popular post from June 2013

by Annette Lyon

Last month at the 10th annual Storymakers Writers Conference, Sarah M. Eden and I taught a class about helpful software for writers. I thought a brief rundown of some of what we covered would be useful here.

Before I get started, I'll add that I was recently told about a piece on the Open Education Database, which features links to 150 different resources for writers. You'll find some of what Sarah and I discussed in that post, along with many more resources, including several I list in the back of the 2nd edition of my grammar book (available HERE). The link is definitely worth a look.

Now for highlights of our class:

Scrivener
The best writing software around, and it's a steal for the cost. I've seen it anywhere from about $25 to $65. Winners of NaNoWriMo often get a 1/2-off coupon. What is Scrivener? Imagine a word processor combined with note cards, binders, folders with all your research (even web pages), and so much more, all wrapped into one. Now add the ability to jump to any spot of your manuscript, switch the order of scenes by dragging and dropping them, and being able to see at a glance all the points of view (or settings, or any other identifier you choose) at a glance. And mark each scene as to do, a first draft, second draft, complete, etc. You can then export your document into several file types, including Word and other industry standards.

The program does have a bit of a learning curve, so do the tutorial and keep an eye open for blog posts and articles about it, as well as video tutorials to get the most out of it. I've written several books and novellas with Scrivener, and I absolutely love it. I learn something new with each manuscript.

Get it at Literature and Latte.

Back-up Software
Because if you haven't lost data, you will. Be sure you have more than one type of back-up, so that if the power goes out/your computer crashes/the house burns down you'll still have access to all your work.

Every type of back-up software will have pros and cons. Some require an internet connection to use and/or to access. Some cost, some don't. Some cost only when you reach a certain level of data.

Some back-up software to look at:

• Google Drive: Free, online storage. Formerly known as Google Docs. Share-able. Can still fail, like all backup systems. 
• Dropbox: Much like Google Drive. Free up to a certain data amount. More room available with a fee, as well as by getting friends to sign up. Files share-able. When working on files, they're seamlessly integrated into your software. Can work offline.
• Mozy: Backups automatically twice a day. Great for full system backups in cases of system failures. Note that it does not backup every few minutes, so in theory you could lose a day's work if you don't have alternate backups. Also saves past versions for about two weeks. Costs based on data amount.

Research Tools

Writers always need good ways of gathering information. Here are a few of our favorites.

• Evernote: Available on your computer and as an app. Syncs your account so all your information is accessible anywhere. Great for clipping and saving articles for research, making lists, sharing information with others, etc.
• Behind the Name: Giant searchable database of thousands of first and last names. Search by language or region of origin, religion, mythology, meanings, etc. Also has popularity charts by birth years and locations. (Scrivener has a cool name generator that does some of these things.)
• Now Casting: Database of actual actors, searchable by all kinds of facial and other physical features. Find head shot of your characters for inspiration!

Dictation Software

Some writers rely on dictation software, and some others enjoy using it as an alternate way of getting their thoughts out.

• Dragon: The best dictation software out there. It's trainable to recognize your voice, and eventually can make the entire computer experience hands-free. It does cost, and there is a significant learning curve.
• Mountain Lion: The newest version of the Mac OS hast his dictation app built in. It's adequate, but lacks the functionality of Dragon. 

Plotting Software
Some fun ways of brainstorming and outlining your next novel.

• Storyometer: This app has all kinds of functionality, from idea, character, and plot prompts to outlining, folders, and more. Definitely check out the tutorials to learn how to use it. One of the pricier apps, but lots of fun.
• Scapple: From the people who make Scrivener. A brainstorming "cloud" tool, currently only on Mac. Integrates with Scrivener.

Productivity Tools

Whether it's staying off the Internet or keeping focused on task, we all can use some of these tools. Find what works best for you.

• Freedom: Prevents Internet access for up to 8 hours. To get on, a reboot is required. Mac and Windows. Free trial.
• InternetOff: Windows only, free. Prevents internet access for a stated period. Easy to turn off the application, though. Also can password protect internet access for kids.
• Simply Noise: Website and a free app that provides white, brown, and pink noise, with options such as oscillation, to help your mind focus. Other noises (waves, rain, etc.) for about $1.
• Scrivener's Target Tool: Built into Scrivener, and oh, so effective in keeping you writing. Set manuscript goals as well as session goals and watch the bar go from red to yellow to green as you get closer to your goal.
• A Timer: Whether it's a plain old egg timer, a clock radio, your microwave, your watch, or your phone, set a timer for 30 minutes or another period and get to work, something easier to do when you know you're "allowed" to stop when the timer goes off. Chances are, you'll keep writing, though.

Your Author Bio--from laundry list to creating an author brand

A popular post from July 2010

by Heather Moore

Recently Annette Lyon and I attended the ULA Conference where we were guest speakers. I flipped through the syllabus and gasped when I saw my author bio. It told about me--but had nothing about my published books or anything that would qualify me to be a speaker. I thought--well, no one will come to my class.

I asked Annette why she thought they'd put that bio in there when I'd sent over my updated bio. She said, "They probably took it from your website."

She was right. As I looked at the bio, I realized that it was on my website. I guess I thought that someone visiting my website would see the books I've written, then for additional author information they'd read my bio.

When I returned home from the conference, I promptly changed the bio so that if someone needed to lift it from my website, it would go well with any conference syllabus.

Recently I read a post by bestselling thriller writer, Barry Eisler. He basically nails why your author bio should be something that attracts a reader to your book, not a dry laundry list of where you were born, where you live, and the number of children you have. Eisler calls is author branding--check out his great post HERE.

In revamping my author bio, I asked myself what information reflects my personality as well as what will motivate a new reader to buy my book?

Anyone want to share yours?

This is what I came up with:

Heather B. Moore is the award-winning author of several historical novels which are set in Ancient Arabia and Mesoamerica. She is not old and doesn’t remember the time period, so Google has become a great friend. Although she has spent several years living in the Middle East, she prefers to forget the smells. Heather writes under the pen name H.B. Moore so that men will buy her books. She is also the author of one non-fiction book, which took her much too long to research and write, so she is back to novel writing (when she isn’t clipping 2-for-1 coupons).

Effective Arcs

A popular post from July 2010

by Annette Lyon

The current (July/Aug 2010) issue of Writer's Digest focuses on the memoir: How to write one, what agents are looking for, how to pitch one, and so forth.

As I've read the articles, I've found it fascinating to see how applicable the very same tools are to both memoir and fiction.

Memoir is one person's memory of real events, but to be something readers want to keep turning pages on, it can't be a laundry list of events in a person's life. It needs to have a structure, a narrative arc.

One piece in the magazine, "Elements of an Effective Arc," by Adair Lara, discusses how to create your own effective memoir arc. Throughout the article, I couldn't help but think how applicable the same concepts are to crafting a novel.

Here are a few tidbits she includes, but tweaked by me a bit to fit novelists instead of memoir writers:

The Desire Line

What does your MC want most? It should fit in one sentence and be specific. "Rhea wants to be happy" isn't good enough. Think of what your MC's happiest possible ending would look like. What did they get? THAT is what the desire line should be about.

Actions and Obstacles

No story is complete without conflict. (I'd venture to stay it's not a story if it doesn't have conflict). Lara uses a formula to show how this works. It's in first person since it's talking about memoir, but put your MC in place of "I" and fill it out:

I wanted _________ (the desire line).

To get it, I ________ (action).

To get it, I then _____ (action).

But ________ (obstacle) got in my way.

So I ________ (action).

And so on (many times) throughout the book.

Characters we love are those who want something and act on it. They don't sit around and react to life as it happens around them. They make things happen. Since they're active in the story, they naturally run into obstacles (hence, conflict).

They then try to find a way around those obstacles. (Still being active participants in events.)

That creates a story, especially when the desire line is compelling enough that the reader wants the MC to get what's in the Desire Line as much as the MC does.

Emotional Beats

Lara describes emotional beats as shifts in emotion that lead to events, which lead to obstacles. Emotion is what drives a story. When your MC feels something strongly (positive or negative), they take action. And then they run into an obstacle.

Example:

Belle is terrified of the Beast (Emotion)

So in spite of her promise, she runs away. (Action)

But a wolf pack attacks her. (Obstacle)

Check out page 37 of WD to see the graph Lara has there of an effective arc.

She includes the Inciting Incident, the first emotional beat and the moment things change in your MC's life. Beats will ramp up. Some will be life-altering, while others won't be quite so intense, but they should all point toward the desire line: what is motivating your character to keep moving through these emotions, toward action, around obstacles?

The Ending Incident

Someone once said that to write a good story, you start at the beginning, tell the story, and when it's over, stop.

Much easier said than done.

Knowing when the story is over and to stop writing is a tricky, especially for something as big as a novel, where there are loose ends to wrap up. But knowing where to end is a must: you can't go on and on and on once the major conflict is resolved.

To put it in Lara's terms: once your MC has achieve their Desire Line, the story is over. The MC has what they want/need. The end.

Granted, it's not quite that simple, but the concepts she outlines for a memoir arc are sound and worth paying attention to as you map out your novel.

WHAT does your MC want? What will get him/her to that place? What does finding that thing look like in your story?

When your MC reaches whatever that thing is (assuming you're going for a happy ending), that's where your arc comes down, and therefore, the story, ends. If your story doesn't end happily, the arc still needs to come down in a satisfying way: maybe the MC realizes they want something else and get that. Or they find that they can't get it, and they go through the process of accepting that. Whatever it is, the arc must be satisfying.

If you're stuck in the middle of your book, stand back and analyze the elements of your arc.

• Do you have strong emotional beats where they're needed to propel the action?
• Are your obstacles big enough?
• Are the obstacles a result of the action your MC took?
• Do the emotional beats/actions/obstacles bring your MC closer to what they want in the end?

Whether it's with memoir or fiction, readers need something to hook onto, something to grip them and keep them turning pages. A solid arc will do that for you.

(For the full article, see pages 34-38. Adair Lara teaches memoir writing.)

Creating Magic Systems

A popular post from June 2011

by Heather Moore

This week I’m attending the Writing & Illustrating for Young Readers conference. A lot of big named authors are there, including Carol Lynch Williams, Allyson Condie, Brandon Mull, Kathleen Duey, Holly Black, and Kristyn Crow, just to name a FEW.

So for someone like me, who has several historical novels published, but is looking to get my first YA science fiction series contracted, it’s a guessing game—which workshop to go to. I know the craft of writing, but every genre has its particulars (Picture Book writing is in its own class).

Since Holly Black wrote the Spiderwick Cronicles, I decided to listen to her presentation. Last week I’d “tweeted” and asked her which book I should read of hers as a new reader. (Some of my kids have read her Spiderwick books, and might have even seen the movie, but not me). She recommended that I read White Cat, first in her new Curse Makers series.

White Cat is an intricately plotted book based on a fascinating magic system. In this world, magic is considered bad and is run by the underground community, mainly mobsters. I don’t know if I’ll ever write a fantasy novel, but I did a ton of world-building for my WIP.

I found myself doing something that I rarely do in workshops these days—madly taking notes.

Holly Black described her world-building process as “6 crazy blue circles”. Each of her “circles” are the springboard for answering the important world-building questions.

According to Holly, coming up with a magic system that works, you must ask yourself these 6 questions:

1. Who has it?

2. What does it do?

3. How do you make it happen?

4. How is user affected?

5. How is world affected?

6. How are magic users grouped & perceived?

Holly then proceeded to answer these questions in reference to White Cat. (If you haven’t read it, this next part might not be as fulfilling. So go read it!)

1. Who has it? 1/1000 have it; it’s genetic

2. What does it do? It’s curse magic, and it can either bring luck, create dreams, change memories, affect emotions, bring physical death, cause transformation

3. How do you make it happen? Magic is transferred by bare hands touching someone’s skin (everyone wears gloves in this world)

4. How is user affected? Blow back (part of the magic blows back into the curse maker)

5. How is world affected? Magic is illegal and underground magic is controlled by the mobsters.

6. How are magic users grouped & perceived? Magic is not good and is perceived as a crime to use it.

Holly added some other great things to ask yourself during the world-building process, then concluded that it’s great to test your magic system on people who game or role play—since they are always trying to break the rules.

Revision Time: Over-Used Words

A popular post from January 2011

We all do it. It's nothing to be ashamed of . . . unless you don't fix it in the revision stage.

What is it? The dreaded repeated word curse. It's dead wood that sucks the life out of your sentences. Pulling out the dead wood of repetition isn't hard, but it does take time.

Doing a search of your document for these is worth the effort. Some of the most common culprits include:

The empty verb/action:

Was

90% of the time, find a stronger verb. And don't resort to passive and other awkward constructions to avoid it.

Another: would

I see this one a lot: Every day, she would make her children their lunches.

Try: Every day she made her children their lunches.

Much cleaner. Also avoid gerunds (was -ing).

Finding fresh ways of showing emotion and small actions and gestures can be hard, so those and other verbs tend to multiply like rabbits if you aren't careful, such as:

look

glanced

thought

realized

began

smile

started

Empty words:

You may find a time where one of these is needed and adds to the work. But those times are rare.

Often, these words are meaningless modifiers. If I say something is "really big," what does that mean? Big compared to what? A boot? A watermelon? A truck?

As a general rule, avoid meaningless modifiers, including:

Just

Only

Actually

Suddenly

Very

Really

Little

A bit

Directionals

Sometimes we go overboard explaining the how and where. When in doubt, cut it. Especially when you have two directionals next to each other (such as "she looked over at her mother").

from

over

at

toward

up

under

around

Other words

The most common extra word I see is that. Sometimes it's needed, such as to clarify which of something. But often, it's just a filler word, such as:

Paula saw that the class was staring at her.

Talk about a weak sentence altogether:

1) Since we're in Paula's head, don't tell us she saw anything; we'll figure out she's the one with the eyeballs.

2) We've got a weak gerund verb with was staring.

3) And then that is shoved in with no purpose.

A stronger sentence: The class stared at Paula.

(Then show her reaction.)

Every writer has their own pet words or phrases, and sometimes they vary from project to project. I've been known to catch myself repeating one word, and then in an attempt to avoid it, I inadvertently find a new favorite word and repeat it realizing what I'm doing.

Several years ago, an editor pointed out the overuse of heart in one of my manuscripts. Puzzled, I almost challenged her. How could I overuse such a specific word and not realize it? I searched the document, and lo and behold, oodles of emotions mentioned the heart in some way.

If my heroine saw the hero, her heart rate sped up. If someone was in pain, their heart thumped against their ribcage. Fear? Heart raced. Heart, heart, heart. I think I took out a good 10 instances in that book.

The Takeaway

Search your work for the most common repetitions. Several writers I know have lists they keep of words to search their manuscripts for. That's a great idea. Cut most of them.

Then have someone else read it for you. I wouldn't have known about heart without someone else catching the repetition. Your readers may find a repeated word you never imagined.

As always, don't even worry about this stuff until the revision stage. Don't paralyze your creative drafting mind by stressing out over repetition. This is for when you put on the editor hat and clean things up.

Just be sure the hat does come out at some point.

For other sneaky self-editing issues see Stephanie Black's great post.

Help Me Focus!

A popular post from November 2011, very relevant today!

by Annette Lyon

First off: To all you NaNo-ers out there, keep pushing on this last day! Congratulations to all the winners out there; celebrate your accomplishment!

I have had a hard time focusing lately. That includes work on my writing, my editing, and even attention to housework and (worse!) to my family.

Many things can be blamed for it, among them the legitimate issues of ADD and chronic pain.

But life must go on. I need to write and edit. More, I need to make sure my family actually eats and has clean underwear.

I've found a some things to help, some of which don't make much sense at first glance. In hopes that some of them may help you, here's a list:

White Noise

Yes, Virginia, it really does help you focus. At least, it does for someone with ADD. My son (who inherited it from Mom, alas) discovered Simply Noise, which has several free options. The basic choices are all essentially what's known as "white noise" but which all sound slightly different. The variations are called white, pink, and brown noise.

Brown noise is my favorite (and my son's, too). I find myself able to focus on a project and get a lot more done in less time while listening to it.

The site also has other sounds, downloadable for a small fee, like ocean waves and a thunderstorm.

A To-do List

People who follow me on Facebook are aware of this one: I have a list of things I want to accomplish in a month. Yes, a month. Big-picture, yet concrete, goals are easier for me to handle than specific ones I have to get done today. With monthly goals, I can look at the list and decide what I can do now.

It's a hard-copy list in a notebook, so I have the bonus of using a bright orange Sharpie to cross out items as I do them.

Major sense of accomplishment!

Accountability

I have a writer friend who has also become my accountability buddy. At the beginning of each month, we email one another our progress on last month's goals and our goals for the upcoming month.

This provides an outside source of accomplishment (getting ego strokes from someone outside my brain helps a ton), and it's also an extra motivation to reach the goals I sent her before. Saying, "Yeah, well, I totally dropped the ball on all my goals" isn't going to cut it.

Meeting with my critique group helps here too. I need to have pages to read when I show up, so I'd better write some.

Minimizing Distractions

For me, that means the Internet. I can sit at my computer with great intentions to do X, Y, and even Z on my to-do list. Then I check email, Twitter, Facebook, and news links, and next thing I know, I've blown two hours.

There's a reason a product exists where you pay for it to disable your Internet connection for determined periods so you can focus on your work.

At one point I wondered if a smart phone would help. (For years, I have a simple candy-bar style phone that did nothing fancier than text.) I figured that if I got online updates while away from my computer, I wouldn't feel as tied to it. Then, when I did sit down at my desk, maybe I'd get more work done.

It was just a theory. Until now. Due to a set of unforeseen circumstances, I got to open my Christmas present early: a shiny new iPhone.

It's done exactly what I predicted: I don't feel the same urge to sit at my desk just to make sure I don't miss something. My kitchen is cleaner than it has been in a while. I got more reading in today. And more writing in. And research. Oh, and I wrote this blog post.

I think this is the most I've accomplished in one day in, well, a really long time.

A Timer

One element I didn't expect to help me on my iPhone, but which has: setting alarms. I'll set it 30 minutes out, and suddenly I can stay on task. When the phone rings, I get to do something else, if whatever I'm doing feels hard. Or, on the flip side, if I have only X amount of minutes to accomplish such-and-such, I'll buckle down and work hard. Great tool, and one I'm sure I'll be using more.

What helps you focus?

Self Diagnosis - Outliner or Panster?

A popular post from September 2013.

By Josi S. Kilpack

At first glance this seems easy to determine about yourself, but put off making the determination until you answer a few questions.

First, let's define the two terms:

Outliner: This is a writer who spends a relatively significant amount of time planning out their book in its entirety before sitting down to a blank page and beginning the actual writing process. A true outline consists of knowing the beginning, middle, and, especially, the end of your project.

Panster: This is a writer who's 'swinging by the seat of your pants.' This means that the author has no written plan when they start their project, but rather they let the story unfold for them as it will unfold for their reader.

So, here are the questions to ask yourself:

1) Do your stories typically begin (as in very first thought about it) with a character or a storyline?

2) When you sit down to write, do you have a pretty good idea of what you will be writing?

3) Do you have a set goal when you sit down? (# of words, specific scene)

4) Would you say your strength is in drafting or revising?

5) Have you ever written with an outline, if so, what percentage of your story stayed exact to the outline you began with?

6) Have you ever completely free-written a project with no written outline to follow?

7) Do you find yourself bored with your story if you know what is going to happen next?


Now, look at the answers you gave to these questions. Go back to the definitions of outliner or panser and see which one better suits you. You may very well find yourself straddling both places--that's actually pretty normal. Most of us are hybrids, but we tend to lean one way or another. Here's how I answered these questions:

1) My stories start with character--most pansters are the same way. However, I am currently writing a series that uses the same character over and over again. Because my character is established, I have to focus more on plot when a story gets going for me. I also have to be aware of plot elements, motivations, settings, themes, and methods of murder used in the earlier books. I've found that my panster ways are seriously impeded by the considerations I HAVE to make. Amid this series I've done a co-authored series as well and it has been much more in tune with my panster ways, and yet I've had to be considerate of the other stories in the series. It hasn't been as difficult as in my mysteries, but I've had to have some written plans, and especially, coordination with my co-authors

2) As a panster, I usually know what my writing for that day will 'start' with, but I don't know where it will end which I think is pretty typical for us panster types. When I'm using an outline, I find it's pretty much the same thing except I have a bit more direction because it's written down. Regardless of which 'mode' I'm in, I almost always go back and read/revise what I wrote the last time I sat down to write before I start new writing. This catches me up to my story and reminds me where I am.

3) I rarely have a set word count goal when I set down--when I am too invested in writing a set number of words, I get anxious. I will often have a goal regarding a scene to either write or revise. I try to keep my goals small enough that I KNOW I will meet it. If I have too big of expectations, I run a high risk of frustration. Often, a small goal will get me into a groove and I'll move on to the next scene without a problem. I actually have no idea if this is more typical of an outliner or a panster, I think it has more to do with anxiety issues :-)

4) My strength is definitely in revising. Most pansters are the same way--they draft to learn their story and then they revise to make it good. Outliners on the other hand are often very strong drafters and their first draft is quite solid and fleshed out because they developed a lot of the ideas prior to writing them.

5) I have attempted many outlines and, up until my most recent project, I would say I kept to about 25% of what I outlined. I therefore felt as though I had wasted the other 75% worth of effort. This isn't entirely fair because any amount of time spent planning and thinking through our story makes our end result better, if only because we reject something that doesn't work, but it still frustrates me. With my most recent project, however, I have done a very long and multifaceted outline. I spent a few weeks on it and used 90% of what I outlined. I am still pantsing a lot of the story and I've moved a lot of things around, but I feel as though I have well utilized the time I put into the outline, which is an exciting thing for me.

6) I have completely free-written many projects. I always have a second document for 'cuts' and have had up to 800 pages of cuts for one project. For me, the story does not develop fluidly so I often take tangents that result in 10, 40, 150 page cuts because what I've written turns out to be crap. I still have to be forgiving about it because it helps me learn my story, but it's a big reason why I want to learn to outline, so as to avoid so much cutting. I 'enjoy' freewritting more, however. Most pansters enjoy writing without knowing what's around the next corner.

7) I have never found myself bored with a story because I know what's going to happen next. Even if the story is fully developed in my mind, I know it's not 'real' until it's on the page. This leans more towards me being an outliner, as many pansters don't want to outline because it loses some of the magic of the story.

As my own self-diagnosis, I would call myself a panster. It's my natural inclination and my 'happy' place. However, as my writing has transitioned from a hobby, to an identity, to a career, I am developing into more of an outliner. The expectations of me require that I give summaries and even synopsis before a project is completed, so there is no option for me to free-write start to finish. I am, however, very happy with the experience so far. I'm learning a lot and growing and beyond wanting to write great books, learning and growing should be one of our top priorities as a writer. Perhaps the day will come where everything I write is brilliant and I can tell anyone who wants a summary of book not yet written to go to the devil and they will scurry away like mice, but that day hasn't come and if I ever want it to, I need to learn the skills that will take me there.

So, which side of the fence are you on, or like me, are your arms out to help maintain your balance between the two.

Reading as a Writer

by Annette Lyon

You've heard it many times before, but that doesn't make it any less true:

Good writers read.

But here's the additional bit that not everyone tells you:

Good writers read LIKE writers.

That means reading while wearing the writer hat in addition to reading for pure enjoyment. (But face it; once you start writing seriously, it's hard to read anything without that hat on.)

I know that after I read certain writers, the dialogue in my current project suddenly becomes snappier, more alive.

If I spend a little time with another writer, my descriptions get more vivid.

Reading yet another might provide a eureka moment where I figure out a plot problem.

And then there's one more writer who I'll read, getting immersed in his strong verbs and his amazing ways of showing a rainbow of emotions and gestures.

Of course, every year I try new writers, and in those cases I let myself enjoy a new voice. I watch how he or she structures scenes and pay close attention to how they open the book on the very first page, begin (and end) every chapter.

And on occasion, I'll open up a really bad book . . . and learn by painful example what not to do.

Writers can learn something about the writing craft by reading (and paying attention to) almost any book, whether that lesson is on pacing, voice, plotting, characterization, or a dozen other things.

Make a goal to never be without at least one book underway at all times. (I have more than I want to admit to going at once. I'm not sure if that's a good thing: the book I'm listening to on my iPod, the one I read to the kids at night, the one my husband and I read together, the one in the car, the one for research. And that's not counting the couple of novels on my desk . . .)

Read. A lot. Consider it the crux of your continuing education.

Because it is.

Revise for Impact

by Heather Moore

News Flash: Registration is open for the 2009 Storymaker Conference.

This fall I attended the League of Utah Writers conference and took a 6 hour editing seminar. I think it took me this long to recover. So now I'm ready to share the love.

The seminar was taught by Elizabeth Lyon, who has a half-dozen books published on writing and editing.

So today, I'd like to share the notes I took on "Revise for Impact" since every writer will enter the dark abyss of editing at least once or maybe one-hundred times on each manuscript produced.

Remember, this comes after your first draft is finished. Go through your manuscript with an eye for the following things--it will tighten up your story and prepare it for your beta readers.

1. One word sentences (to emphasize, as a question)
*One word sentences brings a reader to a complete halt.
*It’s a stop sign. Make it an important word.

2. Take out repetitive words

3. Watch out for common words: look/walk/saw/turn are the most used words.
*These have no emotional or descriptive value

4. Use synonyms for common words like "walk": sauntered, scuttled, stumbled, tromped, scurried, ambled, skip, trudged, side-step
* Or "look": stare, regard, view, peer, gazed, stared, glance, examine, study, glare, leer

5. Power positions. Words that will gain more impact at the beginning and the end

6. Alliteration—rhyme or several words in a sentence starting with same letter--only use when you are doing so for a purpose.

7. Clichés—take them out

8. Repetition: former/past/history: This comes with reading the second draft and having a beta reader go over your story. Watch for those ideas, a beliefs, or desires that are repeated too many times. Remember--your reader is smart.

9. Watch the Telling first, then Showing. This shows that the author doesn’t trust the reader. Keep the scene and dialog that shows. Get rid of the advance sentence of telling. (I see this A LOT in novice manuscripts.)

10. Imagery
*Similes: as/like
*Metaphors: complete substitution
(E. Lyon recommends that you have a simile or metaphor on your first page).

The Neo

by Annette Lyon



People often ask about how I write, what tools I use, so I thought I'd blog about it here.

My AlphaSmart NEO is a lifesaver for me. Without it, I wouldn't have drafted my last three books nearly as fast as I did, and I continue to draft with it. The NEO is how I squeeze writing into the daily chaos that is family life.

Begun as a way to teach grade school students how to type without the enormous cost of lots of computers, the AlphaSmart quickly found a cult following among writers, and for good reason.

At its most basic, an AlphaSmart is a portable word processor. It's got a sturdy shell, a small screen that holds 4 lines or so of text (depending on your model and the font size), and a full-size keyboard.

My NEO uses so little power that my rechargeable battery gets charged maybe three times a year. There's no saving involved. Once you type something in, it's there until you delete it. There's no boot-up time, either. You push a button, and it turns on. You push it again, and it turns off (or just wait a few minutes; if you don't type for a while, it'll turn off to conserve power).

The earlier versions (the AlphaSmart 2000 and 3000, no longer available) had slightly clunkier keyboards and design. The NEO is sleeker and requires a much lighter touch to type with. As a result, I can write much faster on the NEO than I could on my old 3000.

The NEO also has a word count feature, which I really missed on the 3000. The NEO has 8 files you can write in, and each one can hold something like 32 single-spaced pages worth of material. I've never yet filled a file because I transfer my data to the computer quickly, but I like being able to have several things going at once.

Also new with the NEO is the ability to remove (but save) a file from being active and use that spot for another work, essentially giving you several times more than 8 files to work with. I've never needed to use this function, but it's another plus for writers who might fill up a lot of text before getting to back to their computers.

The AlphaSmart DANA version has a few bells and whistles, but also a few drawbacks, like how you have to save, and I know of a couple of DANAs that have had problems like fatal errors, things I've never heard of with a NEO.

Very minor drawbacks withthe NEO are how quotes and apostrophes come out straight from the NEO, while my word processor has them curly, so to make it all match, I have to search and replace all those marks. Same with em dashes. I make them with a double hyphen on the Neo, then search for them and pop in the em dash.

Such minor fixing after transferring the data over is no big deal to me because the NEO is such a lifesaver in so many other ways.

If you're looking for a high-powered laptop, this isn't it.

But if you're looking for something light-weight, easy to transport, easy to turn on, that won't lose power after hours and hours and HOURS of writing, that keeps your work without any effort on your part, something that costs a fraction of a decent laptop, this is your toy.

I mean tool.

Mine has been dropped and stepped on (which happens when you've four children and their friends running around), and it's taken the abuse.

We inherited a 2000 recently, and I passed it on to the kids so they'd stop trying to use my NEO. They love writing their own stories, and with 8 files, they each get to "own" two of them. It's perfect.

When it's time to transfer my work to the computer, I just launch the "get" utility program and push the "send" button. The infrared does the rest.

I can also transfer from the computer to the NEO, but since, at least for me, the NEO is best for drafting rather than revising (that little screen is tough to revise on), I rarely send anything the other direction.

My NEO has let me draft on car trips, in hotel rooms, in the lobby of the dance studio, in the doctor's office, on the deck swing as the kids play outside, poolside while the kids are in swimming lessons, on a bench at the park, and tons of other places when I'm on the go.

It's literally how I cram a lot of my drafting into family life. Without it, I wouldn't get nearly as much done.

To learn more about AlphaSmart's products, visit their website here.