Writers in the Storm

A blog about writing

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Want Creative Cred? Give A Little!

by Rebecca Forster

One of the biggest challenges a creative person faces is establishing creative credibility.

After college, I applied for a job as a copywriter at a major department store. Teachers told me I wrote well, and I was sure that would be enough to land the position. It wasn’t. Still, I got the job because my dad knew the hiring manager and put in a good word. I’m not sure he should have done that.

All types of writing are not created equal.

I quickly discovered that writing a term paper was not the same as writing a press release, an ad, or an executive bio. Each of those things required a different point of view, an understanding of a unique audience, and a targeted tone.

When I transitioned to the business side of advertising, I wrote marketing plans, letters to vendors and potential clients, and creative directives to my team. I had to learn a different language.

Years later, I wrote my first book. I was back to pitching myself with no relevant experience. The challenges were no different than those first jobs and the learning curve began again.

In short, my career trajectory could have been quicker and easier if I had some experience before I asked for the job.

Yes, it’s about the chicken.

No job without the experience; no experience without the job. Which came first, the chicken or the egg?

I believed that if someone (preferably a decision maker in a prestigious business or publishing house) gave me a chance, I would prove myself.  I also believed the only credible creative work was that for which I was paid.

The first notion is fantasy. Decision makers run businesses. Each hire must be an asset. This includes publishers. The second notion was impractical. If I was not an asset, I did not deserve to be paid. In fact, the time it would take to teach me would be a drag on the bottom line.

After a lot of trial and error, I found a solution to my problem:

I went where I was needed. 

Volunteer

Other professions have embraced the nonprofit strategy as personally fulfilling and professionally strategic. Lawyers work pro-bono, doctors cross borders to help those less fortunate, retired business people mentor start-ups.

But nonprofits need more than counsel. They need the kind of exposure writers, filmmakers and artists can provide. Whether you’re looking for that that first portfolio piece or expanding an already established one, aligning yourself with a nonprofit offers you a wealth of creative opportunities.

Start off on the right foot.

Determine your level of commitment. Become a member of the organization, or approach the nonprofit and offer to help as needed. In both instances, make your preference for communications known so you don’t end up on the baking committee.

Before you do either, familiarize yourself with the organization.

If you are not excited about the subject matter, it will show in your writing. I once volunteered to help inner-city girls learn to write college application letters. The group, while wonderful, was more political than I expected. I found my space with my local hospital and have been volunteering there for over ten years.

Respect the organization. Rather than insisting your way is the right way, find out how your words to enhance their mission. Remember, your objective is to build a portfolio and show that you know how to write to task.

Newsworthy Ideas

  • Profile a volunteer
  • Interview an administrator
  • Write a about a fundraising event or the history of the nonprofit.
  • Spotlight the success stories of their clients.

All of these efforts are newsworthy. Whether your writing will be showcased in a brochure or picked up by a newspaper, your portfolio is growing.

Watch the social media feeds to see if there is growth in following or likes for your stories and document that success. Use it to build your own following with a ‘contact’ line at the end but only after asking for permission.

Case Study

Eric, my son and aspiring writer, volunteered for the Peace Corps in Albania. While there, he wrote plays about his experiences and submitted them to Disney. Disney produced one of his plays at the Disney Center in Los Angeles and named him a playwright to watch. He used the proceeds of the production to fund a mobile library for the villages in the Albanian mountains.

His efforts also opened doors to publishers and employers.

My volunteer work at the hospital paid off recently when I needed inside information to write my book, The Ninth Witness. I never would have understood the workings of a hospital or had access to the legal department without it.

Final Thought

The next time you’re looking for a way to showcase your talent, look no further than your community. Your heart, your community, and your writing career will benefit from your generosity.

Have you found writing benefits from volunteering? Please share your experience (and what you did) down in the comments!

About Rebecca

Author photo for Rebecca Forster

Rebecca Forster started writing on a crazy dare and found her passion. Now a USA Today and Amazon best selling author, Forster is known for her legal thrillers and police procedurals. Over three million readers have enjoyed her Josie Bates thrillers in the Witness Series alone. With over 40 books to her name, Rebecca had a long career in traditional publishing before becoming an indie author. Her fast-paced tales of law and justice are known for deep characterization and never-see-it-coming endings.

In an effort to make her work as realistic as possible, Rebecca has graduated from the DEA and ATF Citizens academies, landed by tail hook and spent two days on the nuclear submarine U.S.S Nimitz, engaged in police ride-alongs, and continues to court watch whenever possible.

Rebecca has taught at the acclaimed UCLA Writers Program and various colleges and universities. She is a sought-after speaker at bar and judges' associations as well as philanthropic groups and writing conferences. Rebecca is also a repeat speaker at the LA Times Festival of Books.

9th Witness - Rebecca Forster

Rebecca has just released The 9th Witness, the final book in her acclaimed Witness Series, Josie Bates Thrillers. Find all her books at any online bookstore or here: https://www.rebeccaforster.com/.

Facebook • Twitter • Instagram • Amazon Author Page • Bookbub Author Page

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8 Tips for Turning Your Short Story into a Full-Length Novel

by Sarah "Sally" Hamer

So, you’ve written a short story—one that you love because it’s perfect! It’s full of in-depth characters, thrilling conflicts, and maybe even a twist that leaves readers gasping. But what’s next?

What if those characters keep begging you to tell more about their story? Can you make it into a full-length novel without destroying the perfection of the short one? Is there even enough there? How can you turn your bite-sized tale into a novel-sized epic adventure?

Here are some ideas that can help you leap from short to sprawling.

Embrace the Spirit of Exploration

I love short stories and have written dozens of them, some for anthologies, and some just because the voices in my head won’t shut up! Yes, I know that makes me sound crazy but I think most writers understand and sympathize.

But I also LOVE to flesh those short stories out and make them into real books, mostly because those characters stay with me, sometimes for years, itching to spill more of what makes them tick.

So, to lengthen a short story into a full-length novel, embrace new ideas. Explore more of the world you’ve already created. Open your creative doors and let your writing brain guide you to new conflicts and new understandings of the characters and their story.

Remember, this isn’t about padding your story with filler. It’s about mining the depth you didn’t know was already there.

Let Your Characters Loose

In short stories, characters often have to quickly get to the point. But a novel gives them room to breathe, stretch, and maybe even take up yoga. What happens when you give them time to evolve—or devolve – whichever they need to do? Introduce them one by one, allowing them to show us that they feel / think / dream of. Explore their backstories, quirks, fears.

The longer format allows readers to truly fall in love (or love to hate) your characters. Let them savor every awkward laugh and heart-stopping revelation.

No Fluff Allowed!

Think of writing a longer story, not as “stretching” but as “enriching.” Remember that a longer story is a winding, meandering journey with detours, rapids, and maybe a surprise waterfall or two.

Expand characters. Add new ones. Create new conflicts. Consider subplots. What additional challenges can your characters face? Are there relationships to explore, rivalries to kindle, or mysteries to unravel?

Getting the Pacing Right

Pacing can be a major hurdle. Of course, most short stories don’t have the luxury of a slow walk, although the same could be said about a longer story. But the difference usually is immediacy. Instead of long, detailed back-story or description or a deep discussion, words really matter in a short story. Every word counts and MUST earn its place. Luckily, in a novel, we’re allowed to dwell on the important character arc. You can let your reader wander through the world you’re building, to linger in its sights, sounds, and smells.

Beware!

Beware the dreaded “sagging middle.”

If you sense your story dragging because you’ve added words, give it a shot of adrenaline—a new conflict, a shocking revelation, or even a comedic disaster (a runaway ostrich, anyone?). You will be adding those new characters and subplots, so be sure you add conflict and building tension too.

Beware of adding new characters who don’t do anything.

Give them a real reason to be there. They can have a subplot of their own or simply help the main characters with one of their conflicts (like adding a mentor or a sidekick or a joker throwing a spanner into the works).

Beware of adding fluff.

Quick personal story – I wrote a ghost story set in New Orleans (where else would you ever set a ghost story?!?) which started out about 75K words. Not exactly short but too short for the editor who requested it. She wanted another 25K added in. I stared at the wall for a couple of hours, wondering where I was going to add almost 100 pages to my book.

Finally, I remembered that I had a secondary character who wasn’t completely vital to the plot but who gave my hero some backstory. I created an entire “short” story around her, weaving her in and out of my main plot line, and connected her to all three of the main characters. It was perfect! She added so much to the story I wondered why I hadn’t thought about doing that at first!

So, sometimes, it really does just take adding another character or two, building their own story, and plugging it in. And, by the way, that was one of my Golden Heart finalists. Excuse me for bragging!

Trust the Process

Taking a “perfect” short story and expanding it to a much longer one can seem to be like blowing up a balloon. It takes a lot more air to make a big balloon than a small one and, when you get it too big, it can explode, leaving you with a mess to clean up. Stories can be patched up easier than broken balloons, but they still can be a pain to fix. But it’s not only doable, many of the movies we watch, and may be favorites, started out as brilliant short stories turned into longer ones.

It's okay to stumble, take the wrong path, and to rewrite dozens of times if you need to. But expanding those short stories gives us the opportunity to get to know our wonderful characters all over again and “play” with them once more.

And hey, don’t lose your sense of humor. Writing is supposed to be fun, after all. And if you ever feel like your characters are laughing at you from the page instead of with you—well, maybe they are. That’s the beauty of fiction: anything goes.

Remember, turning a short story into a full-length novel isn’t about inflating a small idea—it’s about nurturing it, feeding it, and watching it grow into something majestic.

What short story are you itching to take on? Do you have a bite-sized tale that needs to become a novel-sized epic? Share your journey with us down in the comments!

About Sarah (Sally)

Profile picture of Sarah (Sally) Hamer

Sarah (Sally) Hamer, B.S., MLA, is a lover of books, a teacher of writers, and a believer in a good story. Most of all, she is eternally fascinated by people and how they 'tick'. She’s passionate about helping people tell their own stories and has won awards at both local and national levels, including two Golden Heart finals.

A teacher of memoir, beginning and advanced creative fiction writing, and screenwriting at Louisiana State University in Shreveport for over twenty years, she also teaches online for Margie Lawson at www.margielawson.com and for the No Stress Writing Academy at https://www.worldanvil.com/w/classes-deleyna/a/no-stress-writing-academy.  Sally is a free-lance editor and book coach, with many of her students and clients becoming successful, award-winning authors.

You can find her at info@mindpotential.org

Top photo purchased from Depositphotos.

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Is My Book a Romance?

by Selene Grace Silver

Several times in the past year, I’ve heard indie-published authors describing their published romances in a way that clearly defines them as another genre. I also coordinate a romance book contest in which at least one entry every year is not a romance, but something else.

Why does it matter what genre an author chooses for marketing or promoting their books?

The answer is: READERS!

Categorizing one’s books is an unspoken contract with potential readers. If an author or publisher advertises a book as a specific genre—any genre—to readers, those readers will have specific expectations about the story they buy to read.

Basic Overview on Fiction Genres

Avid readers are well aware of the genre conventions that accompany their favorite types of books and they will judge a book’s merits on those conventions.

Horror readers expect to feel thrills and chills. Mystery readers expect to see a crime or enigma solved. Fantasy readers expect to escape on an adventure in a world completely different from their own. Science Fiction readers expect a story driven by the positive and negative aspects of technology. Even literary fiction readers have expectations: usually an elegantly written story exploring the human condition.

Every genre, at least in broad terms, promises to deliver a specific kind of story to readers, including romance, which is definitely more than a love story.

Romance readers expect to see the progression of a courtship between lead characters concluding in a happy-ever-after (HEA).

Why It’s Important to Assign the Right Genre

If an author or publisher mis-categorizes their books as romance, they risk upsetting or angering readers and tanking that book’s potential popularity.

Why do authors mis-categorize their books as romance?

One problematic motivation might be to sell more books. Romance is the largest fiction market, so authors and publishers might label a story as a romance to attract romance readers, even when the story doesn’t meet the expected conventions for a romance.

Another reason might be honest confusion. Genre definitions can be complicated, especially in popular genre fiction, and the definitions can change when large book retailers like Amazon or Barnes & Noble reclassify books. Book marketing has come a long way since the Greeks divided narratives into comedies and tragedies. Today, there are a 100+ genres and subgenres in literature.

A third reason might be that the author or publisher lacks experience. Books don’t always fit neatly into one genre or another, many straddling two or more possible categories. Is a book a romantic thriller or romantic suspense? Could it be both? Is a mystery simply a thriller, or is it a psychological thriller? Is a novel historical fiction or historical romance?

How to Check If Your Story is a Romance

To avoid disappointing romance readers, though, it’s important to honor romance genre conventions if you’re going to list your book as one. Here is a short questionnaire to determine whether your story is, in fact, a romance.

(Answers should be yes.)

  1. Do your lead characters get a committed happy-for-now or a happy-ever-after relationship in the final scene?
  2. Is the primary plot a courtship between your lead characters?
  3. Does your story have a meet-cute, or a significant, memorable moment when your protagonists first meet (or meet again) in the timeline of your story?
  4. Do all or most of your scenes focus on the courtship between your lead characters?
  5. Do your lead characters spend most of the book in each other’s company?
  6. Do readers increasingly root for the lead characters to fall in love and be together?
  7. Is an antagonist trying to prevent the relationship between the lead characters?
  8. Does your story include a declaration scene near the midpoint in which one lead character confesses their love for the other lead character(s)?
  9. Is there a time near the end of the story in which readers fear the relationship will not last?
  10. Are the lead characters’ personal arcs tied to overcoming their personal resistance to the relationship?
  11. Do the lead characters’ stakes tie directly to the relationship working or failing?
  12. Is the most vulnerable lead character—usually the female lead—the one who gets to choose the outcome in the end?

The Romance Genre vs. Associated Genres

What about other genres with romance subplots? Here’s a brief comparison of definitions of similar genres.

Contemporary Romance vs. Women’s Fiction

Contemporary Romance foregrounds the developing courtship and HEA between characters falling in love and making a commitment to each other in a contemporary setting. Women’s Fiction focuses on a female protagonist exploring a personal journey towards self-knowledge, self-confidence, and even self-actualization, which may include multiple facets of her family, work, friendship, community, marriage and love life. In Women’s Fiction, a romantic relationship is simply one of several subplots.

Historical Romance vs. Historical Fiction

Historical Romance foregrounds the developing courtship and HEA between characters living in a historical setting. Historical Fiction uses a historical setting and its people as characters in a story, and may include subplots like mystery, romance, political intrigue, and adventure.

Paranormal Romance vs. Urban Fantasy

Paranormal Romance foregrounds the developing courtship and HEA between characters—at least one who is a creature from mythology. Urban Fantasy uses mythological settings and creatures to tell a story, usually a mystery or an action-adventure, and may include subplots like romance and intrigue.

Science Fiction Romance vs. Science Fiction Fantasy and Steampunk

SFR foregrounds the developing courtship and HEA between characters in an alternate world and/or outer space. Science Fiction Fantasy and Steampunk tell stories, usually mystery or action-adventure, set in speculative worlds filled with science and technology, and may include subplots like romance and political intrigue.

Romantasy vs. Fantasy

Romantasy foregrounds the developing courtship and HEA between a strong female protagonist and a supporting love interest on a quest of trials or challenges, set in a magical world. Fantasy focuses on one or more protagonists with a large cast of supporting and opposing characters, on a quest, usually against evil, set in a magical world, and may include sublots like romance and political intrigue.

Romantic Suspense vs. Thrillers and Mysteries

Romantic Suspense foregrounds the developing courtship and HEA between characters who are attempting to survive a dangerous, life-threatening situation or solve a crime. Thrillers and mysteries focus on solving cases of murder and other crimes and may include subplots like romance and adventure.

Romance vs. Erotica

Romance foregrounds the developing courtship and HEA between characters falling in love and making a commitment to each other. Romance may or may not include intimate scenes between the lead characters as part of that developing courtship. Erotica explores human intimacy, fantasy, and taboos associated with sex, and may include a subplot of romance in settings that are historical, paranormal, speculative, or contemporary.

Romance vs. Literary and General Fiction

Romance foregrounds the developing courtship between characters falling in love and making a commitment to each other, ending in an HEA. Literary and General Fiction explore the complications of human relationships in all its manifestations, including family, friendship, community, marriage, love and work, though they may use a mystery, crime, or adventure plot to explore any number of themes related to the human condition.

In Conclusion

The best way to avoid mis-categorizing your stories is to internalize and recognize the differences between genres by reading deeply and broadly. Read a thriller, a crime mystery, a cozy mystery, and a romantic suspense to see how they differ. Read a historical fiction novel and a historical romance. Read a hard science fiction novel, a space opera, and a science fiction romance. Read a steampunk novel, an urban fantasy novel, a Gothic horror, a Gothic Romance, and a paranormal romance. Read erotica and romance. Learn to recognize the subtle but important differences.

Occasionally, you may encounter books that seem to effectively straddle two genres. If you carefully analyze the GMCs (Goals, Motivations, and Conflicts) in each scene, you should be able to determine which genre primarily drives the story forward, and where, when, and how the final scene must take place for complete reader satisfaction.

Do you struggle to define your book's genre? Do you tend to "straddle" more than one genre? Has that hindered your sales trajectory? Please share your experience with us down in the comments!

About Selene

Selene Grace Silver author photo

Selene Grace Silver resides near the beach in Southern California with her romantic Scottish husband. Trained to read and write literary fiction, she never quite abandoned her early love of the romance genre.

After 20 + years teaching English, writing, and literature at the high school and college levels, she’s retired to write fiction full-time. She’s had to adjust her writing style and craft to suit genre fiction, which includes learning to plot and write complex characters. For Selene, an INFJ, writing is a journey of constant self-improvement. She occasionally teaches online, including the upcoming Orange County Romance Writers’ class Build a Romance Blueprint in Four Weeks.

To read a short prequel to the small-town beach romance series she’s developing, sign up for her newsletter. She’s also on Facebook, Instagram and Threads.

Top photo purchased from Depositphotos.

Previous post from Selene: Deepen Your Character Development Using Personality Theory

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