Writers in the Storm

I don’t know about you, but everything is taking me twice as long these days. Sometimes more than twice as long. When you throw a pandemic into the mix, once-simple things seem to take forever. This is the reality of writing and working in the time of coronavirus.

The Downs and the Ups

Everyday tasks like running to the store have been elevated to the level of a campaign – there’s planning and strategy, timing and cleanup. There’s store debriefing, for crying out loud.

Me, last week, after a two hour shopping trip to Target:

“They're still out of Jif and apple sauce, so I got SunButter and apples.”

“Everything on the right side of the table is sterilized, but I’m letting it rest for a few hours.”

“Don’t touch anything on the left until tomorrow.”

“Still no Softsoap or wipes. But I found toilet paper!!!”

All of us from developed countries are fortunate. We've never had to consider most of these challenges and frustrations. Although some people are rolling with the empty store shelves, many more are not. “Don’t sweat the small stuff” is a hard philosophy to live by during a period in our lives when much of the small stuff feels large.

I still feel lucky (most of the time)...

With so many people being furloughed or laid off, I feel incredibly blessed that my husband and I are employed . Yes, I’ve added homeschooling and multiple child meals and extra dishes (So. Many. Dishes.) to my day, but I have a job.

I spent many years worrying about my next meal and wondering if I could pay my rent. I’ve worried through illness so dangerous I wondered if I’d see morning. I'm grateful I'm not re-visiting those fears during this pandemic.

Despite my profound gratitude, I still worry.

• About furloughed friends, older relatives and immune-challenged neighbors.
• About Italy and New York and the economy.
• About whether my child will learn a damn thing for the rest of 4^th grade.
• Wondering when I'll get to write something (anything!) that isn’t corporate communications related to Covid-19.

I worry about whether I can survive another trip to Target where people shuffle around in their masks, staring at fellow shoppers who stray too close like they're the Unibomber.

And then I go back to being happy we are blessed with jobs. And thinking six feet seems awfully close...

It's a wonder if we get anything done with our brains this busy.

Life Lessons I Need to Revisit

Put on your own mask before assisting others.

We all need to give each other as much patience and grace as we possibly can right now. We need to begin by giving ourselves that same healthy dose of patience and grace.

Change is hard in the best of times. These are not the best of times, so I hope y'all are taking all the time and energy you need for the self-care that is so important right now.

Here's my favorite Facebook meme this week. Which number are you?

This too shall pass.

Grandma was right. These periods of crapola end. We know it, but we forget. We've all had breakups and layoffs and challenges, and times we were 100% sure life would never right itself.

I remember feeling annihilated when my mom died when I was 35, and terrified when I almost died of a bajillion pulmonary emboli at 37.

I remember worrying I’d never have my life together... get married... have a child... publish a book... fill in the blank.

And I remember the friend who listened to my woes and held my hand and told me, “You are exactly where you need to be. You have everything you need to have to get all those things you want. You just need to be patient, and keep working. Those things will come.”

The worries pass if we let them. My friend was right, and so was Grandma. I need to revisit their advice. Perhaps you do too.

Perhaps you need someone to listen to your worries and virtually hold your hand.

Here is the advice I’d give my wonderful writing comrades today:

“Even if you don’t feel you’re where you need to be right now, and you have no energy or heart for your writing, you can do things for your mind and creativity that you might not allow yourself otherwise. Those things are important, because lifting your spirits is important.”

You can:

• Read through your To-Be-Read pile without guilt.
• Take a Master Class. (There’s a BOGO offer until April 19 if someone wants to share with me.)
• Plan (and maybe even execute) a website.
• Binge watch that show you never had time for.
• Learn a skill you’ve dreamed of, like drawing or a new language.
• Wallow in book research.
• Take naps.

Final Thoughts

Research has proved both panic and calm are “catching.” If taking a nap or reading a book helps keep you calm and focused, DO IT. If nothing else, you can spread your newfound calm to someone else you love.

In the meantime, here is Some Good News from John Krasinski. (You might remember him from The Office or Jack Ryan.)

https://youtu.be/F5pgG1M_h_U

p.s. This is my 100^th post here at Writers In the Storm. All of you make me thankful every day. Thank you for the time you spend with us here.

As this pandemic marches on, how is everyone doing? Are you well? Are you feeling motivated, or not so much? What (if any) Corona Life change is making you crazy? Tell me all about it in the comments!

About Jenny

By day, Jenny provides corporate communications for professional services firms. By night she writes humor, memoir, women’s fiction and short stories. After 18 years as a corporate software 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.

by Lori Freeland

Pitch out Visuals? Pass on Variety? Personalization of Villains? People of Value? Just what is POV, and why do you care?

Understanding POV

Point of View (POV) refers to the character telling the story in a particular scene or chapter of your book. And only one character should tell the story at a time.

Why? Having a clear picture of what’s happening keeps us from being confused—not only in a novel but in real life too.

Imagine that you and a few friends witness a car accident. The responding police officer asks what happened, and everyone describes the incident at once. There are a few reasons he’ll likely listen less than thirty seconds before he stops the chatter.

1. It’s hard to differentiate one voice from another when they’re mixed together.
2. People highlight separate points and share them in a different order.
3. Not everybody witnesses the event the same way. Bias kicks in. Each of us sees the world based on our own life experiences.
4. What sticks out to one person fades into the background for another.
5. We remember things differently, and not everyone’s data will match.

It’s much easier to interview each person who saw the accident and put the “big picture” together at the end using all the information. Your reader, like that police officer, can only process the world through one set of eyes at a time.

When we open a book as a reader, we “step into” the POV character’s head. In a way, we become that character. That means we can only:

• see what he sees
• hear what he hears
• feel what he feels
• know what he knows
• think the way he thinks
• react the way he reacts

If Paul is the POV (person telling the story), when he walks out of the kitchen and into the bedroom, he takes us with him. We can’t see his dog eating the hamburger he left out to thaw because Paul can’t see it. He’s no longer there. And neither are we.

However, if he’s in hearing range, he can describe the audio and let the reader “hear” it too.

Head-Hopping

Have you ever gotten a comment from a critique partner or an editor about your character head-hopping? Head Hopping means you’ve slipped out of the POV character’s head and into another character’s head. Sometimes writers will jump back and forth, and that can be confusing.

Think of head-hopping as God-like powers to peer into people’s minds to read their thoughts, intentions, and emotions. I can’t do it. You can’t do it. So, your POV character probably shouldn’t do it either—unless she’s psychic.

Types of POV

First and third person are the most common. First uses “I” and third uses the character’s name and “he” or “she.”

Example: I walked to the store and met Frank. / Karen walked to the store where she met Frank.

Let’s go a little deeper in point of view and talk about inviting readers inside your character’s head and keeping them there.

Deep POV

Point of View Versus Perspective

Point of view focuses on who’s telling the story. Perspective focuses on how that character sees the story.

Like with the car accident, characters can view the same event in different ways. How they view the event determines their reactions, actions, thoughts, and emotions. Think about this—a villain isn’t a villain in his own story.

Fact Versus Opinion

We can think of deep POV as fact versus opinion.

FACT: What the POV character actually sees, hears, or learns from first-hand experience and past knowledge about someone else. If it’s fact, the POV can make statements about what another character knows, feels, or thinks.

Example: At the kitchen island, David’s sorting documents. His symmetrical stacks are white cutouts on the black high-top table, and he’s brought us each two water bottles. As much as he drives me insane, if there ever is a zombie apocalypse, I’d pick him as my Walking-Dead wingman every single time. He thinks of everything.

(Statement made by our POV based on past, firsthand knowledge that’s supported by David’s current actions.)

OPINION: What the POV character perceives through non-verbal cues (body language, expressions, voice cues) or what she’s heard from another person. This refers back to perspective. If it’s opinion, the POV character can make an educated guess about what another character knows, feels, or thinks. 

Example: In one barbed look (expression), David manages to nail me with equal amounts of accusation and disappointment, reminding me once again that I’m not his favorite person (opinion formed by our POV based on that expression).

Side Note about perception: One character’s perception of another character can be wrong, but that’s okay. Misperception causes conflict, and we want conflict.

Going Undercover

We can think of deep POV as going undercover. An undercover agent has to stay in character 24/7. Sometimes his life depends on it.

Most people read for a chance to be someone else for a while. They like getting lost in someone else’s world. But how do we keep that world as real as possible so they don’t get yanked out in the middle of the journey?

Don’t Shatter Deep POV

Examples:

• I widened my blue eyes.
• Her brown hair fell over her shoulders.
• My face turned red.

If you’re not looking in a mirror, you don’t see those things about yourself. And neither does your character. We don’t think about ourselves that way either—unless it’s something we’re constantly aware of that either bugs us, like an obvious scar, or makes us proud. Conceited people will think about the way they look all the time.   

For ways POV characters can describe themselves, check out this WITS post Characters Are People Too.

Examples:

• “Hey, Joe, how are you?”
• “Joe, do you want to go for a drive?”
• “Joe, that’s a great jacket.”

How often do you actually say someone’s name during a conversation? Make it a point to notice next time you’re talking with other people.

For more on dialogue, check out this WITS post: Dive Deep into Dialogue.

Examples:

• I thought she looked beautiful. / She looked beautiful.
• She wondered if he liked her. / Did he like her?

In deep POV, everything is that character’s thought. You can cut “thought” and “wondered” 99.9% of the time. Especially avoid “he thought to himself.” We all “think” to ourselves. We can’t “think” to anyone else. And sometimes, we wouldn’t want to.

Examples:

• Filtered: I watched Ben swagger across the room and noticed Jane’s face fall.
• Unfiltered: Ben swaggered across the room, and Jane’s face fell.

Multiple Points of View

How NOT to Write Multiple POVs

1. Don’t confuse secondary characters with POV characters. Each POV character has to have his or her own complete story arc related to the overall story arc. This includes your villain.

This doesn’t mean you can’t tell a secondary character’s story. But it should be told through a POV character’s observations. In Harry Potter, Harry is telling the story, but we feel like we know the secondary characters just as well.

2. Don’t retell the same scene from a different character’s point of view—unless you’re telling that kind of story. The movie Vantage Point is told that way. One event. Multiple perspectives. Different versions of the truth. 

3. Don’t add new POV characters just to create subplots. If your story spans a large time period or has dual timelines, each of the POV characters you add needs to have their own complete story.

4. Don’t bring in POV characters because you feel you need to offer the reader information or explanations. There are more creative ways to do that. But that’s another post.

Changing POV

There are specific times in your story that allow you to change to a different point of view. When you...

• Start a new scene
• Start a new chapter
• Make an obvious scene break (use white space and #)

How do you pick a POV?

You’ve decided to go with two POV characters. Maybe you’re writing a romance with the hero and heroine’s points of view. They each have their own complete stories related to the overall story arc, and you’re good to go. How do you choose which character tells what part of the story? You might:

• swap out every other chapter or every other
  scene
• split a scene in half and show both points of
  view
• consider which character has the most to lose
  or gain during the scene

Whatever you go with, be consistent. Don’t give twenty chapters to the heroine and four to the hero. Don’t show us inside “his” head and never give us a glimpse of “hers.” In a dual POV situation like this, think of your novel like a movie with two co-stars. They both want equal time. 

When you’re working with multiple POV characters, it’s crucial to orient your reader. Make sure they know whose head they’re in. Readers don’t like to be confused. Open each scene with your POV character.

Try Using:

• Dialogue (the POV speaking)
• Action (the POV doing)
• Internal Thought (the POV thinking)

If you open with a “floating” question, no dialogue tag attached, your reader will assume it’s the POV character and jump into her head. And once you choose your POV, commit. No head-hopping for that portion of the story.  

As writers, why do we care about POV?

Because we care about our readers. Our job is to give them the smoothest read possible. They want to step into the world you’ve imagined through the characters you’ve created and stay there—without any glitches, blips, distractions.

Your turn. What are your strengths and weaknesses when it comes to POV as a writer? What are your biggest issues as a reader? Leave a comment! And I love examples. Please share yours.

*  *  *  *  *  *

About Lori

An encourager at heart, author, editor, and writing coach Lori Freeland believes everyone has a story to tell. She’s presented multiple workshops at writer’s conferences across the country and writes everything from non-fiction to short stories to novels—YA to adult. When she’s not curled up with her husband drinking too much coffee and worrying about her kids, she loves to mess with the lives of the imaginary people living in her head.

You can find her young adult and contemporary romance at lorifreeland.com and her inspirational blog and writing tips at lafreeland.com. Her latest release, The Accidental Boyfriend, is currently free on the Radish app. 

Top photo credit:
Photo 113666910 © Monkey Business Images - Dreamstime.com

by Eldred "Bob" Bird

It’s springtime and we’re all stuck inside for the most part. Sure, you can step out into your own yard and do a little gardening, but I’ve also been using this time to tend a different garden that’s been sadly neglected—my author platform.

What is an Author Platform?

In simple terms, “Author Platform” is a way to describe your visibility, authority and ability to reach a target audience. It’s also the public face that represents who you are and you what want to say. In other words –

IT’S YOUR BRAND!

Like every writer, every author platform is be different. The first question you need to ask yourself is, “Who am I trying to reach?” Readers? Agents? Publishers? Hollywood producers? (Hey, it could happen!) Maybe you’re looking to book workshops or speaking engagements. Answering this question will help you focus your efforts in the right areas.

Platform Basics

Your author platform is built on two main structures:

• Your online platform - websites, blogs,
  social media, podcasts, etc.
• Your offline platform – conferences,
  workshops, book signings, book fairs, etc.

Sadly, most of our offline options are on hold at the moment, so let’s talk about our online platform. We’ll save offline until we’re free to move about country.

The Three Legs of Your Platform

Visibility

Visibility relates to how easy you are to find. In the same way a physical platform lifts you up above the crowd, so does your author platform. Ask yourself these questions:

• Do you have a website?

Websites are a great home base for authors. When designed well and maintained, they give a clear picture of what you, the author, are all about. At the very least they should include a bio, links to your work, and contact information. You may also choose to include a blog, pictures, videos and links to your social media. Jane Friedman has a great article on how the build your author website.

• Do you use social media?

Social media is a great way to raise your visibility and connect with readers and other writers, but beware; it can also lead you down rabbit holes and suck up all of your time if you’re not careful. Cultivate your online community, but put a clock on it. Check out this WITS post for tips and tricks on using social media.

• Where do you rank on search engines?

One way to put your visibility to the test is to put your name into your favorite search engine. Are you on the first page? Third page? Can’t find yourself at all? It’s time to look at Search Engine Optimization (SEO). Check out Jenny Hansen’s post on SEO for Authors to learn how to improve your ranking.

Authority

The second leg on your author platform is authority. What is it that gives you credibility in your space? This is especially important if you write non-fiction. People want to know why they should read your book, rather than someone else’s. Here are some questions to help you decide what to include in your platform:

• Are you published?

Being a published author, traditional or self-published, shows you have what it takes to finish a project. If you’ve got good reviews, flaunt them. Anthologies, magazines, online journal and blogs (like WITS) count toward your publishing credits, too!

• Do you have any awards?

Awards go a long way toward establishing your authority and credibility. Don’t just include book awards, but also things like service and humanitarian awards as well. Community involvement shows strength of character.

• Do you teach workshops or speak?

If you’ve taught classes or been invited to speak to groups, play it up! Workshops and public speaking may appear to be off the table right now, but not so. Many authors and educators are turning to the web to deliver their content. Whether you chose live streaming over social media, video conferencing, or posting videos Youtube, there are alternative methods to bring your content to the masses. Hosting or guest spots on podcasts and vlogs can also increase you authority.

Reach

Reach is exactly what it sounds like—your ability to reach your target audience. It also includes whether or not that audience responds to your calls to action.

• Do you have an email list? How many subscribers?

Email addresses are like gold to publishers, but also to independent authors. Every address is a potential buyer for your next book. This is one part of our gardens we should all put time into cultivating. Ask for addresses any chance you get, and offer something in return. For example, if you sign up on my website, you get a free short story.

• Do you send out a newsletter?

What do you do with those addresses? Send out a newsletter. Even if you have nothing new to offer, you can keep potential readers up to date and build excitement for your next release. Encourage your subscribers to forward the email to friends who might enjoy what you have to offer.

• How many followers do you have on social media?

While not as valuable email addresses, don’t discount social media followers. Word of mouth, so to speak, spreads faster than wildfire on the web. Bad news does have a tendency to travel faster than good, so be mindful of your content. Keep control of your brand.

• How many impressions do your posts get? How many direct responses?

Most forms of social media have a way for you to track you stats. Pay close attention to what gains traction and what doesn’t. It does no good to shout into the void if no one hears you!

Some Final Thoughts

Check out the platforms of some of your favorite authors, especially if they are in your genre. What draws you in? What turns you off? Where are they focusing their efforts?

One thing to keep in mind is the focus of your author platform is to sell YOU, the author, not your books. Your marketing plan is about book sales. When used in harmony, the two platforms will raise each other up. The more your target audience learns about you, the author, the more likely they will be to respond to you marketing.

Like the proverbial garden, our author platforms need constant upkeep and attention. If we ignore them, they can become overgrown, out of control, or simple die on the vine.

If something’s not working, be willing to pull the weeds and replant. If you feed your author platform garden on a regular basis, you’ll be surprised at how it will flourish!

What parts of your author platform do you love working on? Which parts, if any, do you detest? What has made the most difference, either in the strength of your platform or in how you feel about it? Share with us down 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 the soon to be released 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 image by Jill Wellington from Pixabay