Writers in the Storm

A blog about writing

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12 Lessons Learned From Writing Short

by John Peragine

In the last year, short story competitions have helped focus my writing. I read many short stories in elementary school and always enjoyed them, but I believed they were some condensed form of a larger work. I never thought of short-form writing as something special on its own.

Fast forward to adulthood and the beginning of my own writing journey.

Over the years, I have written short stories, but mostly as a writing exercise. To me it was practice for long-form. I believe I was half right.

When I wrote the stories, I never really thought about word counts, genre, or anything else- I just wrote, and when I was done, I might tinker with it a bit, but then I would set it aside. It was not until the past year that I began to realize how wrong this was and how much I was missing.

I am a big Neil Gaiman fan and began reading his short stories, along with his book, Trigger Warning: Short Fictions and Disturbances. In it he explains his process of writing the stories.

I was intrigued. Each story was the perfect length. They weren’t shortened versions of books at all, they were perfect miniature works of brilliance.

In my hubris, I thought I could try my hand at it.

In my typical (unfortunately too typical) fashion, I decided to try my hand at some serious short story writing. I entered the NYC Midnight Short Story Competition. It was one of the most frustrating and awesome experiences in my life, and I believe it is has helped improve my writing.

The lessons I learned from my experience:

1. You must enter to learn the lessons.

I had never entered a writing competition. I'd heard many people say they were scams and not worth the time and effort. They were mostly an exercise of ego inflation, and that everyone got some prize. Now while I am sure there is a fair share of those types of competitions, the NYC Midnight Competition was none of those things. It was legitimate and hard.

2. It’s harder when someone gives you the guidelines.

To break it down simply: you are given a genre, an object, and a character description. My first one was spy story, mountain, journalist. The rule was that you had to include those elements prominently. . If you didn’t, you were disqualified. To up the stress factor, I had to do the story in 3 days with 2500 words. Piece of cake, right? Not even close.

3. I suck at writing under guidelines.

I had to focus my creativity using the materials given to me. I felt like what contestants in the show Iron Chef must feel like when they are told to make a complete meal using an electric eel.

4. The gamification of writing is both fun and motivating.

A competition that I could get excited about, against other really good writers from all over the world. As a professional writer, I don’t get too many opportunities to pit my writing skills against others. I was hooked!

5. Ticking clocks trigger neuroses.

I felt the clock ticking. My inner fraud police were screaming loud in my head, “Are you nuts. You aren’t a real writer. What were you thinking? You will lose the first round- give up now.”

6. You must ignore self-doubt.

I ignored the little devil me on my shoulder and pressed on. I typed and typed. I could do this. When I was done- it was 5,000 words. Crap.

7. Editing is a blessing and a curse.

I began cutting and consolidating, and I quickly realized something. Something horrible. My story was not going to work in the 2500 confines. I had to start over- Over 24 hours were done.  

Writing Short Form

8. Write concisely and strategically.

I had to learn the efficiency of words. Working as a journalist meant I could write a column a certain length, but a fiction story was a totally different creature. I had to write more concise and strategically. Instead of spending 3 pages with a scene, I had to write the same information cleverly in two sentences. Every word counts. Some sentences took 30 minutes to work out. But I did it. I wrote the 2500 perfectly crafted words.

9. Appreciate editors and beta readers.

I had some insight into my soul over the next few hours. I learned that I really appreciate editors and beta readers, but I don’t always like them. Mostly because their suggestions are dead-on, which meant I had work to do.

Why couldn’t they just ignore my instructions and tell me my prose was Pulitzer worthy?

Instead, they eviscerated my draft. I could not add any more words, so I had to consider their suggestions (quickly) and tear my manuscript apart and rewrite. I barely made my deadline, and then I just waited.

10. Waiting is HARD.

Because there were thousands of competitors all over the world, the feedback took a couple of months for the judges to complete. It was torture. If I did not rank in the top five in my group, I would not move onto the next round.

Confession: I was so unsure of my ability to do well in the competition, that I used a nom de plume. That way if I failed miserably, nobody would know.

11. Critiques help you grow as a writer.

I have always encouraged feedback and criticism in all my writing. I like the praise, but I appreciate the critique even more. In those red pen reviews, I have the opportunity to learn and grow as a writer.

I felt that the three judges were spot on with their comments. I found out I was not as horrible as I imagined, while at the same time, there was a lot I needed to learn and practice in my short-form writing. I came in 2nd in my group, so I moved on to the next round.

12. The smaller the wordcount, the harder the writing.

I did not do as well in the second round (I came in 7th). The word count dropped to 1500 words and I had only 48 hours to complete it. Again the comments were spot on, and I loved to have been a part of the competition. I have entered two other writing competitions since, and I have had the same great experiences.

Writing short form has made me much more aware of the conservation of words in my long-form fiction. This in turn helps me in the editing and rewriting of my manuscripts. I’m also much more disciplined and willing to scrap an idea to make room for better ideas.

I would love to win one of the competitions but losing hasn’t deterred me or made me feel like I am a bad writer. On the contrary, I feel it is making me better at writing and editing. Also, it has taught me how to write with strict deadlines. I had no time for distractions, and it forced me to focus on just writing.

If you have never tried your hand in a short writing competition, try one. You will be surprised about how your perception and your writing skills will change.

Have you tried writing short stories? Have you entered writing competitions? What are your thoughts on switching up your writing every so often? Let's talk about it down in the comments!

About John

John Peragine has published 14 books and ghostwritten more than 100 others. He is a contributor for HuffPost, Reuters, and The Today Show. He covered the John Edwards trial exclusively for Bloomberg News and The New York Times. He has written for Wine Enthusiast, Grapevine Magazine, Realtor.com, WineMaker magazine, and Writer's Digest.

John began writing professionally in 2007, after working 13 years in social work and as the piccolo player for the Western Piedmont Symphony for over 25 years. Peragine is a member of the American Society of Journalists and Authors. His newest book, The No Frills Guide to Book Marketing, will be released in Summer 2020.

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Smart Writers Expand Time

by Margie Lawson

You may have read portions of this blog on WITS in 2012. It’s still a winner.

Writers are all powerful. Well, in their fictional worlds they are all powerful.

Two of the 74,386 story dynamics that writers control are expanding time and compressing time. Today we’ll focus on the most fun of the two, and the one writers sometimes neglect: expanding time.

When would you want to expand story time?

When scene events justify zooming in on the POV character’s experience, minute by minute, or second by second. Maybe even picosecond by picosecond.

You’ve got to love that word. Picosecond, one trillionth of a second.

In real life, people can send and receive up to 10,000 nonverbal cues in less than one minute.

Yes. That’s a true statement.

We can process up to 10,000 nonverbal cues in less than a minute. Such a shocking number, and cool too.

When what’s happening in your scene is critical or crucial, decisive or dangerous, life-changing or life-threatening, you want to expand time, big time. Don’t hold back. I recommend writing it bigger than you normally would, then rein it back in until it’s just right.

I’ll share examples of expanding time from two mega-talented multi-Immersion Grads—Joan Swan and Laura Drake.

My first example is from Joan Swan’s debut paranormal romantic suspense, Fever. Now Joan has over twenty books out as Joan Swan and Skye Jordan.

Fever, Joan Swan, 4-time Immersion Grad

The Set Up: Alyssa, a radiologist, just completed a scan on a prisoner named Creek.

The hair on her neck barely had time to lift before heat washed her back.  Creek’s hard body closed around her.  What the hell?  A cool chain cut across her throat.  No.  She sucked air.  No. Her fingers clawed at the metal.  No!

“Don’t make a sound.”  He spoke soft and slow, his chin on her shoulder as he bent over her and pressed his cheek against hers from behind.

Her brain finally came back online.  Air wisped into her lungs and fed the new baseline of fear.  When Creek straightened, he rose ten inches above her.  And she now registered not only his size, but the sheer strength in all that corded muscle she’d been admiring.  His movements controlled, purposeful, almost zen-like in confidence.

“You idiot…” She barely breathed the words, the metal and pressure restricting her vocal chords.  “Let go—“

The chain jerked once, cutting into her trachea. “Shut.  Up.”

Pain cut off all thoughts but sheer survival. Air. Breath. Air.

She wedged her skull against his collarbone to allow a fraction of relief on her airway. Oxygen wisped through the stricture. In. Out. In. Out. Her gray matter slugged back to work, edged with hot, sharp panic that threatened to invade every crevice and drive her insane.

The officers’ boots were still visible beneath the curtain where they stood in the hall, but she couldn’t draw enough air to speak let alone scream. And the links of metal weren’t cool anymore. They burned, as if Creek’s body heat streamed through the metal.

A FEW PARAGRAPHS DOWN: CREEK GOT SCISSORS OFF HER DESK

Jesus. “Put…those down.” A spurt of terror gushed up her chest. Her fingers searched for a millimeter of leverage between the chain and her skin. “You’re…burning…me.”

Creek’s head tilted down, his whisker-roughened chin scraping her cheek.

The pressure eased and Alyssa ran her cool fingers over raw skin, choking in blessed air. Her relief was short-lived as the rasp of metal on metal sounded in her ear. A hard blade pressed against her neck.  Her eyes squeezed shut.

“Not another sound,” Creek whispered, “or I’ll cut your throat.”

“All right.” The older guard sounded relaxed and jovial as he swooshed the curtain aside. “Are we all done in—?”

The room went completely still. The extended, shocked moment expanded, taking on weight and mass and volume like one of the cancers Alyssa fought so hard to find and fight in her patients.

Kudos to Joan Swan!

What techniques did she use to make expanded time work?

1.    Visceral Responses – hair on neck lifted,  spurt of terror gushed up her chest

2.    Specificity – One of dozens of examples: She wedged her skull against his collarbone to allow a fraction of relief on her airway.

3.    Body Language – throughout

4.    Dialogue Cues

  • He spoke soft and slow
  • The older guard sounded relaxed and jovial

5.    Power Internalizations – throughout

6.    Power Words –  cut, fear, strength, muscle, confidence, restricted (airway), pain, survival, air, breath, oxygen, hot, sharp, panic, invade, insane, skull, airway, screamed, burned, terror, pressure, raw, choking, blade, cut your throat, shocked, cancers

7.    Backloading – Power words at the end of sentences.

8.    Cadence, cadence, cadence!

Rhetorical Devices: 

1.    Asyndeton – His movements controlled, purposeful, almost zen-like in confidence.

2.    Polysyndeton –  . . . taking on weight and mass and volume . . .

3.    Simile –  . . . like one of the cancers . . .

4.    Onomatopoeia – whooshed, wisped, rasped

5.    Alliteration – throughout

Wow! Look how Joan powered up her expanded time passage.

Our second example of expanding time is from Writers in the Storm veteran, Laura Drake. Laura wrote this zoomed in version of expanding time after Immersion class. Now Laura has eleven books in print.

Days Made of Glass, Laura Drake, 2-Time Immersion Grad, and Cruising Writer’s Grad

The Set Up:  Harlie saves a Pomeranian from being pummeled by a bull.

Yipping in triumph, the dog shot like a flaxen arrow to the center of the arena and faced Patrice with a panting grin.

The bull stood in front of the gates, snorted, threw his head up and with white rimmed, rolling eyes, regarded the irritant. Harlie watched, frozen. The bull strutted, looking around, deciding.  It might have walked to the open exit gate if the Pomeranian hadn’t challenged it with a cascade of furious yapping.

The bull wheeled to the center of the arena, dropped its head, and with a heavy snort, charged. The dog held his ground, barking at the charging one-ton animal like a drunk with little-man syndrome.

Why isn’t anyone doing anything? Besides Patrice, who shrieked from the bleachers.  Harlie’s hands jerked from the pole fence. The dog was a pain in the ass, but it was about to be pummelled to a bloody rag under the bull’s hooves.

She didn’t think. Ducking between the poles, she judged the bull’s trajectory and ran on a diagonal that would allow her to scoop up the dog without getting stomped.

Maybe.

She barely heard the shouts of the onlookers. Instead, she focused on the speed of the bull, gaining, gaining.

No way she’d make it to the fence.

The sweet rush of adrenaline hit her like a heroin-mainlining junkie. Just as strong, just as welcome. It sang through her veins, lifting her, making her impervious -- superhuman. She sped up, heart thundering in her ears -- or maybe that was bull’s hooves.

Everything seemed to slow. Details stood out in perfect focus: the shine of spit on the dog’s bared teeth, the whorl of hair at the center of the bull’s forehead, a small scar next to its white-filled eye.

In full stride, Harlie reached the center of the arena, snatched the now cowering fur ball by the nape, and kept moving. The ground shook with pounding hooves. She tensed her muscles for impact, but felt only a sliding rub of horn on her butt and the rush of air at her back as the bull passed. Clutching the suicidal mutt in a death grip, Harlie sprinted for the fence.

She’d only taken a couple of steps when the panicked yells of the onlookers penetrated the swelling chorus of the adrenaline song in her head. Harlie didn’t have to look. She knew bulls. The animal had wheeled, and from the vibrations in the soles of her fancy cowgirl boots, was bearing down to gore her.

No time. She heaved the dog toward the open-mouthed, red-faced men on the opposite side of the fence.  Harlie’s brain registered a stop-action photo of the little dog, hair blown back, flying through the air, mouth open. She hadn’t known that dogs had an expression for terrified, but this one sure did. It hit the ground running and streaked for the line of boots at the fence.

Harlie spun on her heel. The bull was farther away than she’d guessed, but closing fast. She shot a glance to the fence. It seemed as if she were seeing it through the wrong end of a telescope. A bull will beat a human in a race, every time. She’d never make it.

No choice.

Tension zinged through her. The timing had to be just right. Failure would come in the form of lunging horns and bone-snapping hooves. Head down, the bull came on.

Decision made, the fear in Harlie’s chest lay down before a rising exaltation of knowing. Crouched in a marathon runner’s stance, she shook the jitters out of her hands and gauged the bull’s closing speed.

One more step –

Harlie exploded, launching herself straight at the bull.

She took two long-jumper strides.

The bull charged in, lowering its head to hook her.

On the third stride, perfectly timed, her foot came down in the center of the bull’s broad forehead. He threw his head up and she was launched, flying over the beast’s back

It seemed she rose forever, her stomach dropping, shooting the sparkly fireworks of a roller coaster’s first hill. A quiet, high-pitched sound escaped her lips. It might have been a giggle.

When the arc finally began its downward tail, Harlie looked for a place to land.

Wow. Pacing. Pizzazz. Passion. Power.

That’s the kind of writing that earns contracts.

Kudos to Laura Drake!

What did Laura Drake do to make her expanded time piece work?

Review my deep editing points for Joan Swan’s passage – and fill in content for Laura’s excerpt. Consider your WIP. Where could you add power by expanding time?

POST A COMMENT AND YOU MAY WIN a Lecture Packet or an online course from Lawson Writer’s Academy valued up to $100.

We’ll have two drawings, one for each prize. I’ll post the name of the LUCKY WINNERS on Friday night.

Online Classes offered by Lawson Writer's Academy in December:

1. NEW CLASS: Building from the Ground Up: Character Development and Story Structure, Instructor:  B. Dave Walters

2. NEW CLASSIt’s a Wonderful Writer’s Life, Instructor: Lisa Norman

3. NEW CLASSJust for You: A Two-Week Intensive Mentorship, Instructor: Rhay Christou

4. Lights, Camera, Tension; Instructor: Sarah Hamer

5. Kid-Lit Crash Course: Writing and Publishing Your MG-YA Novel; Instructor: Michelle Schusterman

6. Two-Week Intensive on Revision, Instructor: Shirley Jump

About Margie

Margie Lawson Photo

Margie Lawson —editor and international presenter – teaches writers how to use her psychologically-based editing systems and deep editing techniques to create page turners.

She’s presented over 120 full day master classes in the U.S., Canada, Australia, New Zealand, and France, as well as taught multi-day intensives on cruises in the Caribbean.

To learn about Margie’s 5-day Immersion Master Classes, full day and weekend workshops, keynote speeches, online courses through Lawson Writer’s Academy, lecture packets, and newsletter, please visit: www.margielawson.com

Interested in inviting me to present a full day workshop for your writing organization? Contact me through her website, or Facebook Message me.

Interested in attending one of my 5-day Immersion Master Classes? Click over to my website and check them out.

Registration is open for Immersion classes in Atlanta, Denver, Poulsbo (WA), Pittsburgh, San Jose, Jacksonville, and Milnathort, Scotland!

I’m adding three Immersion classes in Australia too. Email me if you’re interested.

Thanks so much for reading this blog. I’m looking forward to your comments!

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Nurturing the Creative Spark Through Sleep

by Ellen Buikema

Like many writers, I am fortunate to have a varied and interesting dreamlife. However, for almost a year after beginning our retirement travels I was unable to recall any dreams.

No dreams. No writing. Not good.

My dreamtime, normally filled with weird and thought-provoking scenarios, became a void. Sleep is playtime for the brain, and mine didn’t seem like it was having any fun.

If we don’t dream, we lose contact with reality.

Normally I’d remember enough of a dream for a short film, so not dreaming was a real concern. The most I’d recall upon waking was a fleeting feeling or snippet. In one, a kitten ran at me and jumped into my arms with such joy and force that it woke me up.

As I’d prefer not to be psychotic, I needed to know why the wonderful and sometimes frightening series of unconscious escapades escaped from memory.

Repercussions of Sleep Deprivation

I recognized that sleep deprivation was creeping into my life from my days as a new mom who tried to do everything herself, and didn’t take the sage advice of other parents. They’d point out that I should sleep whenever the baby slept. That would have been a wise choice, as not sleeping enough caused hallucinations.

Depriving the mind and body of sleep slows the brain’s ability to absorb visual information and translate the data into thought. Recent events fade fast, never arriving in long-term storage for future use.

Attempting to write in this state of mind was an exercise in futility, reading and re-reading paragraphs with nothing sinking in. Sleep deprivation was killing my creativity, making me cranky, and giving me a craving for carbs.

Feed me bread, lots of bread. Slather on the butter, too.

The Plaza, The Pigeons, and my Poor Sleep Cycle

My husband and I are living in a joyously noisy country. Roosters crow, dogs bark, vehicles blare, fireworks blast, people enjoy life (aka partying until 3 AM with a live band).

In my search for the elusive Sandman I tried several methods:

  • Meditation,
  • Siestas (Naps)
  • CBD oil
  • Earplugs for varying decibel levels
  • Rainstorm background sounds
  • A sleep mask
  • Reading (a non-thriller) at bedtime
  • White noise
  • Long walks
  • I even tried stuffing a pillow over my ears.

Each morning before the sunrise I awoke to the sound of pigeons either calling for a mate, or having an orgy on the small patio outside our bedroom. Pigeons are messy creatures, and can be very (very) loud.

At first I tapped on the window to get the chubby little monsters to move. This only helped once.  We tried all kinds of things: flapping curtains, opening the glass slider, playing recorded sounds of predators, bird spikes, corn oil mixed with hot pepper.

Our unwanted, accidental outdoor pets paused briefly to listen to the predator calls, then ignored the sounds and got back to the business of being pigeons.

The neighbors shoot rubber bands at the pigeons. My aim is terrible; you should see me try to bowl. Plus, I don’t want to hurt them. But I needed them to go elsewhere, so I decided to try a water pistol. Waldo’s dollar mart had what I needed, something that looks a bit like a miniature Super Soaker.

The next day I was ready for them.

I crept upstairs toward the bedroom, water-filled child’s toy in hand, to interrupt the red-eyed vermin's noisy fun on the patio. They ignored me until hit with a water stream. 

The water pistol has helped a bit. The early morning debauchery has lessened and I am sleeping better with the additional help of CBD oil.

Finally, as a treat, my brain served up an anxiety dream. It’s a start.

National Institute of Health's tips for good sleep:

  1. Set a schedule – go to bed
    and wake up at the same time each day.
  2. Exercise 20 to 30 minutes a
    day but no later than a few hours before going to bed.
  3. Avoid caffeine and nicotine
    late in the day and alcoholic drinks before bed.
  4. Relax before bed – try a warm
    bath, reading, or another relaxing routine.
  5. Create a room for sleep –
    avoid bright lights and loud sounds, keep the room at a comfortable
    temperature, and don’t watch TV or have a computer in your bedroom.
  6. Don’t lie in bed awake. 
    If you can’t get to sleep, do something else, like reading or listening to
    music, until you feel tired. 
  7. See a doctor if you have a
    problem sleeping or if you feel unusually tired during the day.  Most
    sleep disorders can be treated effectively.

Dreams are important to characters too!

I’ve used character’s daydreams and thoughts from a meditative state to advance a plot. Characters also suffer from insomnia and interrupted sleep. James Scott Bell recently did a great post on characters' dreams.

Other great reads:


Have any of your characters had a dream that influenced their behavior? Have you ever experienced insomnia? How does your sleep (or dreams) affect your creativity. Share your tricks for better sleep down in the comments!

About Ellen

Author, speaker, and former teacher, Ellen L. Buikema has written non-fiction for parents and a series of chapter books for children with stories encouraging the development of empathy—sprinkling humor wherever possible. Her Work In Progress, The Hobo Code, is YA historical fiction.

Find her at http://ellenbuikema.com or on Amazon.

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