Writers in the Storm

by Eldred Bird

In a previous WITS post, I covered five of the Twitter writing community’s least favorite tips and so-called “rules” for writing. One article wasn’t nearly enough space to cover the subject, so I’m back with five more!

As I stated last time, everyone has their own interpretation as to the meaning of these gems. All opinions herein are my own and may not reflect your reality when it comes to putting words to the page, but isn’t that what writing is about? We all create our own reality when we tell our stories.

Let’s dive in and see what we can learn about these five tips.

Don’t Use Passive Voice

First, let’s define ‘passive’ as opposed to ‘active’ voice.

Active Voice - The subject of the sentence is the one performing the action. An example would be, “Billy punched Mark in the jaw.”

Passive Voice – The subject of the sentence is being acted upon by another party. “Mark was punched in the jaw by Billy.”

While active voice is best in most situations, as with any other tool in your writer’s toolbox there is a time and place for passive voice. Active voice tends to keep pacing up and paints a clear, concise picture of the movement, and sometimes mood, of the characters. Passive voice can be used to slow things down a bit and reflect on the effect a character or object has on a particular situation.

Passive voice is also a great tool for character building in dialogue. If your character speaks in passive, it can indicate a lack of personal responsibility—things happen to them not because of their own actions, but because of outside forces. Evolving dialogue to become more active over the course of the story is a good way to show personal growth in the character.

Avoid Flashbacks

Personally, I don’t have a big problem with this one if it’s made clear we’re going back into a character’s memory. Therein lies the problem. The transition is where writers are in the most danger of tripping up the reader when the flashback starts. Give us a clear lead-in to the flashback so we know where we’re headed, then make it obvious when we return to the present.

The other problem I see with flashbacks is they can easily become backstory data-dumps. Treat your flashback just as you would any other scene in your story. Weave the information into the narrative and don’t dump unnecessary details that don’t help to move the story along.

Maintain One Single Point of View

I think a quote from one of my favorite movies (A Knight’s Tale) sums this one up well:

“You have been weighed, you have been measured, and you have been found wanting.”

There are so many good books out there with changing POVs that this tip can be considered total hogwash.  High on that "good books list" is The Sound and the Fury by William Faulkner, so changing POVs is not a new concept. That doesn’t mean every story that uses multiple points of view will work.  Again, it’s all in how you wield this sword when chopping your manuscript into different parts and pieces.

As with flashbacks, be careful to make the transitions clear to the reader so they don’t get confused as to who they are currently following. My personal rule is to only switch POVs at a chapter or scene break. This gives a clear delineation between the viewpoints.

My current WIP, a fantasy, is written third-person close POV whenever the MC is in the “real world” and switches to first-person when he is in the fantasy realm. After the first couple of switches, the reader clearly understands where they are simply by the POV.

Don’t End Sentences in Prepositions

If you’re trying to get a passing grade in your English class, by all means follow this rule. Otherwise, feel free to end your sentences any way you want to (see what I did there…). If it works with your voice and flow as a writer, then do it. Use sentence fragments too, if you like. If it makes the sentence feel awkward, maybe you need to take another look at it. Maybe awkward is what you were going for. Bottom line, if it works for you, it will probably work for your readers as well.

Make Writing Your First Priority

When I saw this reply to my query about tips on Twitter, it struck me as so ridiculous that I just had to include it in this post. The reply came from David Martin Lins, author of the newly released novel Skull Valley.

Okay. The worst I ever heard was... "Anyone can raise your children, only you can write your book. Prioritize the book and hire a babysitter." - a keynote speaker at the conference where I met you.

I can’t believe a keynote speaker at a national writing conference would throw out that kind of advice. And as if that wasn’t enough:

She also said she has an egg timer she starts when her now-adult daughter calls her so she can get back to her writing.

I think it goes without saying (but I’m going to say it anyway) that family comes first, especially your kids. The world is not going to implode if you don’t hit your word count goal for a couple of days.

Spend time with your kids. Read to them, tell them stories, and listen to the stories they tell you. Odds are you’re going get some writing inspiration out of the exercise and your children will benefit from some quality time with mom and/or dad.

Some Final Thoughts

I’m going to wrap this post up in a similar fashion to how I ended part one. Keep in mind that these tips have come from the experiences of others. Any time we get a piece of advice it’s up to each one of us to determine what we do with it. Mull it over to see what applies to your work and how it applies. The advice we choose not to incorporate into our work is just as important as what we decide to hold onto. In the end, it’s all about communicating with the readers and building your unique voice as a writer.

What do you think of these writing tips? Do you have a favorite (or least favorite) piece of writing advice? Share your thoughts with us in the comments.

About Eldred

Eldred Bird writes contemporary fiction, short stories, and personal essays. He has spent a great deal of time exploring the deserts, forests, and deep canyons inside his home state of Arizona. His James McCarthy adventures, Killing Karma, Catching Karma, and Cold Karma, reflect this love of the Grand Canyon State even as his character solves mysteries amidst danger. Eldred explores the boundaries of short fiction in his stories, The Waking Room, Treble in Paradise: A Tale of Sax and Violins, and The Smell of Fear.

When he’s not writing, Eldred spends time cycling, hiking and juggling (yes, juggling…bowling balls and 21-inch knives). His passion for photography allows him to record his travels. He can be found on Twitter or Facebook, or at his website.

Top Photo (background) by Patrick Fore on Unsplash

by Lisa Norman

We've all heard that writers need a website, but why?

When I ask writers why they want a website, they say:

• so I can look professional
• so I can get a book deal
• to sell more books
• because my coach/agent/publisher said so.

When we don't know why we need a website, it is hard to use it effectively. A website isn't supposed to be something you put on a shelf and dust off occasionally. A website is a powerful sales tool that helps move an author toward success.

Let's start with an understanding of how marketing works. Most people show these stages as a funnel, but I'm thinking they work a lot better as a wheel.

Marketing Wheel for Authors

Discovery

Marketing starts with discovery. No one will buy your book or become your fan if they don't know you exist.

Websites are only a tiny piece of the discovery stage of marketing, but they still play a role.

A potential fan is thinking, "Hmm. What should I read today?" They're probably a little bored, looking for something distracting.

Maybe they find a blog post you wrote on a topic that interests them. Maybe a friend shares something on social media. Maybe they see your ads.

However they find you, they either go out and buy your book directly from a vendor or they come to your website to learn more about you and what you have to offer. Either path can generate sales and a following for you.

Consideration

Here is where your website starts to show its power.

At this stage, our fan is thinking, "I wonder if this writer is any good?"

They're looking for your style promise.

How will they find that on your website? Your writing style shows up in your blog posts, your About Me page, and even in your privacy policy! You may have a downloadable short story on your site that they can read and get intrigued. You may showcase fantastic covers that will catch their interest and drag them to your sales pages. You'll have awesome blurbs.

Your style promise is a key part of your author brand.

Something important: you want to show your style and your brand in all of your sparkling glory. If these folks aren't going to be your true fans, they should know it right away and leave. Don't waste their time or your marketing dollars on people who aren't going to be fans.

You don't need to appeal to everyone. You want your website to scream what you are about so that your people will be attracted and those that are not your people will be filtered out.

This consideration stage should lead them to your sales pages.

Conversion

Conversion is a marketing term that just means they buy the book. Bonus points if they read it.

Conversion can also be signing up for your mailing list.

In this stage, the potential fan is becoming an actual fan. They are interacting with your writing and deciding that you are someone they want to know more about.

They like what they see in your writing, and they want more.

Relationship

As a fan finishes your book and closes it, they are thinking, "Wow. That was really good. I wonder..." They will bring their questions to your website.

Hopefully, they'll find their answers!

Ideally, they'll find not only answers, but an invitation to connect and become a true fan.

You want to clearly invite these fans into a relationship.

Technologically, this means they sign up for your newsletter so they can be notified when your next book comes out. They may also follow you on social media, but don't forget to get them on your mailing list!

Your newsletter (also called your "list") is the most important sales tool you have.

Statistics show that more books are sold through direct emails than through any other channel. You want to fill that list with true fans. You want fans that will be so excited about your new book that they'll race to pre-order, tell their friends, and then eagerly leave reviews.

A side note about mailing lists: it isn't the size of the list that controls the power. A small mailing list with loud, true fans can outperform a huge list with bored people who aren't actually your fans. This is why giving away a Kindle or some other prize can build a list that then doesn't generate sales. You want true fans who love you on your list.

This is a relationship that you will honor and protect. Give gifts to your fans: short stories, drawings, sneak peeks. One of the most amazing gifts that you can give your fans is the connection to you. An email from a favorite author can make someone's day. If they reach out through comments or reply to an email, do your very best to respond.

Don't know what your fans want? With a relationship like this, you have the ability to ask them. Give them what they want.

Retention

Fans who feel respected and valued want to stay around.

Everyone is busy. If you send out a newsletter that doesn't have anything in it for a true fan, they'll unsubscribe and spend their time watching Netflix. Never bore your list!

Engage with these fans, build a following, and they'll want to interact with you and your books more. Better yet, they'll want to bring their friends to the party.

Want to find more fans? You want more people like the ones you have. You may not know those people, but your fans do!

Showcase fan fiction and fan art. Create polls to give your fans a sense of connection to your next book. Bring them into the process. Make them feel valued and cherished.

A fan at this stage is not just thinking, they're speaking. They're telling their friends, "Hey, I found this great author you should check out!"

And that is how retention leads back to discovery.

Get this wheel spinning and it will become self-sustaining.

Why your Coach / Agent / Publisher wants you to have a website

People who are invested in your career, especially those whose income is tied to yours, want to know that you understand marketing and are ready to become more than just a small part of the process. They want you to show them that your brand is going somewhere!

I was at a convention, sitting next to an agent who was drooling over the website samples I had on display. He said, "If I could convince my authors to do one thing, it would be to build a website like these."

Own Your Space

One last tip about websites. Only on an author's website do you have complete control over the content and your customer interactions.

Social media companies can change the rules and interfere with your interactions with your fans. Sales behemoths can control your access and ability to advertise.

But on your website, you are building a home for your fans, a gathering place. You can lock out the trolls. You make the rules because this is your home on the internet.

Make it welcoming. Make it entertaining.  Make it yours.

Do you have an author website? What do you like and dislike about it? Do you have any questions for Lisa? Please ask them down in the comments! (And we hope you're as excited as we are that Lisa is one of our new regular contributors!)

About Lisa

Lisa Norman's passion has been writing since she could hold a pencil. While that is a cliché, she is unique in that her first novel was written on gum wrappers. As a young woman, she learned to program and discovered she has a talent for helping people and computers learn to work together and play nice. When she's not playing with her daughter, writing, or designing for the web, she can be found wandering the local beaches.

Lisa writes as Deleyna Marr and is the owner of Deleyna's Dynamic Designs, a web development company focused on helping writers, and Heart Ally Books, an indie publishing firm. She teaches for Lawson Writer's Academy.

Upcoming Classes

• August: Social Media for Authors
• September: Maximize your Crazy Easy Author Website (Advanced)
• October: Crazy Easy Awesome Author Websites (Beginner)

Top Photo by Marcel Friedrich on Unsplash

by Jenny Hansen

Earlier this week, Karen DeBonis did a post here at WITS about finding your writing process. In the comments, I confessed that finding mine took a long (LONG) time. I’ve tried a gajillion tools in my quest to get a book off the ground and finished. Fast Draft, W-Plot, Snowflake Method. . .and I have a confession to make. They all helped me be a better writer, but none of them got me to "The End."

The only thing I've found that can get me to the end of a story is to embrace my inner scene writer and let her lead the way. This post describes what that actually means.

What is a scene?

First, you have to understand what a scene really is. I love how Margaret Dilloway says it in her amazing post, How to Outline a Novel: 60 Index Cards Method. She explains it like this:

Each scene is an event that changes the character’s situation in a meaningful way.

• Every scene needs something to happen.
• Each scene produces a change achieved through conflict.
• Each scene shows how the character responds under pressure.

If the scene does not meet these criteria, take it out.

Note: I love my plotting and pantsing pals equally! The linked article above explains how Dilloway outlines using a 60 scene method. There is wiggle room in the number - think 60 to 100.

What does it mean to be a "scene writer?"

All those cool linear "big picture" methods I mentioned above aren't forgiving enough to help me finish books. My busy brain says, "Ooooh...GLITTER!" And I'm off doing something else, instead of writing those 60 scenes that make up a book.

Basically "confessions of a scene writer" and "the angst of a slightly ADD writer" aren't very far apart.

The only thing that gets me to "The End" is putting my butt in the chair and writing one scene at a time. The scenes don't even have to be in order, they just have to be finite. If I don't stay completely immersed in the moment and the scene, it's an open door for "Ooooh...GLITTER!" That's the way busy noggins like mine work.

Most scene writers make a list of all the things we know, create a loose structure, and then write to it. Writing a book this way is a little bit like a to-do list.

I didn't really know how to describe my writing process until one of my crafty relatives said, "Hey, you're a story quilter!" It turns out, she was right. Each scene is a piece of the pattern and it all gets stitched together later.

It was Diana Gabaldon who shined light on scene writing as a possible writing method.

I read some articles about Gabaldon and how she wrote the Outlander series. She sees the story as a movie and re-constructs that movie in her head, scene by scene, until everything is on paper. Then she shuffles them all together into the books we know and love. While I won’t pretend to be anywhere near Gabaldon’s league, we both do books in short little pieces. Perhaps it has to do with being a busy mom.

When I read about Gabaldon, a light went on in my head. I finally accepted the truth.

I’m a scene writer. 

I stopped trying to write from beginning to end like all my friends and accepted that I'd be walking a different path. Some of us are "story quilters" and that's the way we're made. (The very thought of it gives my organized linear pals hives.)

My scene-writing process in a nutshell

1. Like many writers, each book usually starts with an idea or a scene that comes into my head fully formed. I write that scene to get it out of my head and onto the page. I keep writing until all the initial scenes are out of my head. Usually, there are between 5-10 scenes that come with the initial idea.

2. Near the beginning of the process, I bat some ‘what if’s’ around with my writing peeps and decide on the overriding theme for the book and the internal and external conflicts for the main characters. I might be wrong, but it gives me a place to start.

3. If I’m really lucky, the turning points get decided in advance too. At the very least, I take time with my critique group to discuss what I think the turning points are to see if I’m remotely on target and if it all sounds believable.

4. I make a list of all the scenes I know and I write whatever I can see clearly until they're all done. If I get stuck, I just go down the scene list. If I get really stuck, Margie Lawson gave me the brilliant idea of writing scene prompts down on slips of paper and picking the day's scene out of a hat. She's so smart.

In my old life (that's the life of creating unfinished stories that taunt me) whenever I'd get stuck, I'd stop. I'd stare at the page, clean my kitchen drawers, come back to the page and stare some more. Sometimes there was crying. Almost always, after a few weeks, I'd give up and start another story.

Now I just pick a new scene and write it and the pantser half of my brain works the problems out. Most important, this method lets me keep writing. That immersion is what keeps most writers engaged with their story.

5. When I'm deep in story mode, I try to write at least five days a week as it keeps my brain open to receiving new scenes. When I let more than a week go by without visiting my story, I start to lose focus.

6. I use a timer. My deal with myself is I have to do at least 30 minutes of work on my fiction for those 5 days a week. While it doesn't sound like a lot, it really makes a difference. If I'm digging it that day, I go way longer than 30 minutes. If I'm not digging it that day, I know "I only have to do this crap for 30 minutes."

Must-Haves for the "scene writing" approach

You don't have to have every one of these mastered, but it really, really helps if you at least have the first one. I use them all, especially in the editing process.

You must have a good grasp of 3-Act Structure.

Otherwise you end up with a pile of scenes, or "story blocks," you can’t use. It also helps to know the 12 steps of the Hero’s Journey. Here’s a great link I’ve found on the hero's journey. I work with 3-Act structure because I can keep track of it better in my head.

Two words – Conflict Lock.

If you don’t have a conflict lock, you don’t have a story. So says Bob Mayer, author of Warrior Writer and co-founder of Cool Gus Publishing. Here’s a blog from Shannon Curtis to tell you more.

Scene-dissecting tools like Margie Lawson's EDITS system.

If you don't have tools like the ones Margie teaches you, it's difficult to figure out where you missed with a scene, especially if you're a pantser. Invest in yourself with classes or lecture packets from Lawson Writers Academy...you'll be glad you did.

Understand your story's DNA (theme) before you get too far.

I think hard about theme pretty early in my process for an important reason. If you have a strong visual of your story's underlying message, you automatically write to it. That story DNA will inform every scene choice you make because it has to. John August, the screenwriter for Charlie and the Chocolate Factory and Big Fish, says it much better than I do in this post.

Pros and Cons of Scene Writing

And yes, these are all going to be completely subjective. However, if you're on the fence about your process, I thought it might be helpful to see why you might like or dislike this writing method.

The advantages

1. I never get writer's block. There's always another scene to write or edit.
2. I'm able to write fast and stay immersed, because it's "only one scene."
3. Scrivener allows me to store scenes separately and move them around.
4. The story theme is naturally interwoven when you write this way.
5. I'm able to move between fiction and non-fiction pretty easily.

The disadvantages

1. I need objective eyes to tell me when the story is "really done."
2. Continuity edits are a must for long works - I need to know that all the loose ends got tied up.
3. Scene transitions bug the crap out of me (and I'm pretty sure I'm terrible at them). The story quilting method stitches those glorious scenes of yours together with those transitions, so if you're not good at them, run the work by other writers or an editor.

Final Thoughts

Before I close this out, I want to pause and reiterate something. Like underpants, writing process is personal. You'll find out what fits YOU the best by trying it on for size.

I'm only sharing my process here because several of our commenters asked me to. At the end of the day, the only writing process you have to care about it is your own, and the only writing process you need to embrace is the one that allows you to finish your stories.

Where are you at in your "process journey?" Do you have a method that resonates with you? What do you do when you get stuck? Please share with us down in the comments!

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About Jenny

By day, Jenny provides corporate communications and LinkedIn advice for professional services firms. By night she writes humor, memoir, women’s fiction, and short stories. After 20 years as a corporate trainer, she’s delighted to sit down while she works.

When she’s not at her personal blog, More Cowbell, Jenny can be found on Facebook at JennyHansenAuthor or at Writers In The Storm.