NANOWRIMO: WEEK 4

Hey! You’re in the homestretch, and whether that is a cause for rejoicing or a cause for panic, it’s still your last week. Below are some thoughts. Remember to send me your email along with comments and stories about how its gone so far, what you’ve learned, what helped, what didn’t, what you’d do differently, or if you’d ever do it again. I’ll put your email into a drawing for a Writer Care Package, stuffed full of lots of useful goodies that every writer needs.

Here’s your final week pep talk.


Good morning!

For those of you who’ve been following me through the month of November, this marks the final installment of surviving NANOWRIMO (National Novel Writing Month). I’ve been flowing with a life-stages theme, and had intended to title this week “Retirement” but the thing with NANO is that only some of us will spend the last week resting and reaping the rewards of a month packed with hours of dedication to your project. A lot of us will find this final week to be the last, desperate attempt to finish.

So this brief post is for those who are struggling through the last four to five days to make up those words, or at least push to do what they can.

I hope, more than anything, and even above the lofty goal of 50,000 words, that you are still trying. That you haven’t given up. That you have built a habit of writing so that you don’t feel complete in your day unless you’ve spent at least some time on your work.

Because, that’s the whole point. This month is more about teaching us to prioritize our lives to include our writing first (or at least at the top of the to-do list) and to know that we CAN accomplish great things when we give it the time and love it needs. It’s more about building the habit of writing than it is about reaching the specific goal.

So often in our lives we self-limit. So often we are told it can’t be done, we can’t, the work is too great, the effort pointless. So often we are told that struggle won’t be worth the outcome. But those voices and those opinions fail to factor in that it is not just the outcome that is rewarding. The end result is not all we are working for. Its the journey in getting there.

When we challenge ourselves, the bigger reward lies in the struggle. New ventures, hard and thankless work, and lofty goals teach us how to plan, how to plot, how to push ahead when we simply don’t feel like it or when others around us question or scoff at the ideas before us. Challenges shine a light on how amazing and resilient we are so that, no matter the outcome, we learn what we are capable of. And once we know what we are capable of, the bonds of doubt weaken and we begin to believe that if we can write a novel in a month, we can edit it, publish it, write another, and another, and another. And if we can write a book we can take a class, or teach a class. We can climb a mountain, we can travel across the world. We can do anything we set our minds to.

We can.

You can.

You’ve only got a few days left in this month and I BELIEVE THAT YOU CAN do anything you’ve set out to do. You are amazing. You are imperfectly perfect and there’s no one in the world who can finish this month the way you will.

Deep breath, writer. Don’t let the home stretch scare you. Let the struggle instead be your gift and one which you are grateful to work through. You can. You will.

National Novel Writing Prep

It is that magical time of year again. That time where my blog posts get shorter, the house falls into disarray, and herd of cats goes unfed (not true, if it’s one thing that can take me away from my writing, its the screaming protest of three obviously starving felines).

National Novel Writing Month is upon us. In four days time, I hope you’ll be joining me on a journey of creativity, self discovery, and frustrating obstacles to overcome. Much like a marathon, NANOWRIMO is not just a test of the word count, but a test of your mental fortitude. As in years past, I will be offering a short blog each week to help inspire you through the process.

But this week, I want to help you get ready.

First, commit to the process. It’s daunting. It’s scary. It’s a mountain of words to conquer and so many people won’t even type the first ten. But it is also absolutely doable. It is within your reach, and you can accomplish it with a little hard work and determination.

Once you’ve decided to join me on the journey, go to this website: www.nanowrimo.org and register. The website has come a long way in recent years and provides opportunities to connect to local groups, online communities, offers articles and tips, fun little badges to click on as a way to motivate you, places to download your own inspiration (photos, pinterest boards, and playlists), and encouragement for every stage. Answer some of the questions, create a profile, and just set it up as detailed or as sparsely as you want.

Next, and I would recommend this, whether you’ve been plotting and daydreaming about this novel for years or the idea just hit you yesterday morning on the toilet…make yourself a rough outline. If you’re not sure how-search outline or plotting on my blog website and it will take you to some great articles on how to get started. I recommend at least breaking your novel into three arcs and giving a general timeline of what happens within each. This will give you direction if and when you start to falter.

Next, look at your schedule and decide when your most optimal times for writing are, and put it on your outlook or calendar as a ‘meeting’ or ‘appointment’. Don’t let it get taken over. Reserve the time so you and your family/work partners know you will be busy.

Make sure you take creative breaks (reading, watching a show, painting, whatever) and physical breaks (walks, runs, karate practice, naps etc) to keep your brain fresh and engaged and your body from being too stiff or jittery.

Stock up on snacks, coffee/tea, and water. Stay hydrated and healthy, and if all you have time wise for writing is night, make sure that you’re still giving yourself plenty of time to sleep. All in all, it’s only 1667 words a day you need to write. But some days it will feel more like 1,600,000, so do what you can to control the outside forces and story blocks that might make the process harder.

That’s your homework for the next four days. Get prepped. Get ready. Get set to go. You’ve got this.

Diversity in Fiction: Crafting Characters Respectfully

I’m not one to go seeking out hot-button issues, but the truth is when we don’t address underlying, systemic problems of all the ‘isms’ in our culture (from government programs, to housing applications, to writing fiction–) they continue to hold power over and harm other human beings. So, I’m discussing today how we, as writers, can be not only sensitive to the characters we create but the effects of their existence on our world. After all, stereotypes exist because we fail to see them in all the subtle ways they permeate our lives. As ethical and compassionate people, we should work towards burning down those untruths as much as possible, even in our own work.

I’m not going to stand on a soap box and preach without starting with myself. I’ve probably, in my ignorant and un-learned past, created characters that simplified the complexities of a human into certain traits. I’ve tried not to. I tried to craft my characters as strong, independent and powerful, more tuned to their personalities than their physical traits. But there were still subtle things, I wasn’t even aware of at the time, that filtered from my limited white experience. As I look into rewriting this character, I am constantly questioning how I can do better.

We all should. We owe it to the character, to the reader (and to the world) to examine our writing and go forward with an eye to our own hidden (and not so hidden) biases or ideas.

The best advice I can give you is to strip yourself of any cloak of magnanimous “equality”. Start by reading some real, hard to stomach, but necessary soul-exploring books on the complexities of race and gender equality, the reason systemic problems exist, and how we can best eradicate them. Talk to people from every background, attend classes, lectures, and forums, open discussions of others’ experiences. Do it with an open heart, and a willingness to accept your part in the system. Have the dedication to do something about it.

When we are invested in writing characters different from ourselves (race, gender, religion, sexuality, age etc) one of the best things we can do is RESEARCH. In the expansiveness of the Internet, so much good information, written by diverse voices, can be found. The ones most important (and really the only viable ones) are those written in their own voice, about their own experience.

I also encourage you to talk to as many other people of all walks of life as you can. (And not just to research for your work…do it for the benefit of your humanity and compassion.) While I DO NOT advocate for you turning your ‘one black friend’ into your go-to for all questions about a diverse, varied and culturally rich part of our world (it’s not their job or duty to educate you), don’t shy away from respectful and honest conversations that come up, especially when they happen from immersing yourself in different situations and events from a standpoint of open mindedness and learning.

Above all, when you are writing diverse characters DON’T, for the love of god, assume that by describing their skin color/religion/orientation that you’ve described their character in total. DON’T stereotype them. DON’T include diverse characters just for the sake of checking off a box.

DO make them unique to their upbringing, their experience, and their situation. DO describe all of your characters equally and in rich and expansive ways.

I’ve always believed that good storytelling is universal. And in our connected and dynamic world, it would be a shame to only write one kind of person. But care for your characters and the people they may or may not represent. Here are some good resources that may help:

Good luck and don’t be afraid. Just be respectful, compassionate, and educated.

NANOWRIMO Week Two: Here Comes a Writer With a Baby Carriage

Hello! Thanks for taking the time to catch up with the blog in the middle of one of your (hopefully) busiest writing months. At this point your mind set is probably so swayed to creating that reading outside of your work in progress is a lot like talking to another adult after being seeped in toddler-speak non-stop all week.

I know that your time is precious so I’ll keep it short and sweet. (Like me, ya’ll)

The second week of NANOWRIMO is all about elaborating on, fleshing out, and developing your baby. Last week we talked about the excitement of new love, the honeymoon stage of writing, if you will. This week is about the baby you’ve made and what that means for not just your writing, but your life for the next seven to ten days.

I know a lot of you are parents, and though it may have been awhile since you’ve spent the midnight hours rocking teary-eyed cherub back to sleep, chances are you remember the sacrifice of time and autonomy for the good of the future. This week is not much different for the NANOWRIMO process. You are starting to see the commitment involved and how the expectations you may have had in the beginning are often dashed by the realities.

Because children don’t always behave the way you think they will. Characters show unexpected traits and say things that throw your dynamic out of whack like dropping the f-bomb at Christmas dinner with Grandma, or asking you for “boob!” loudly in a store.

Settings and plot lines stall with the same debilitating frustration as trying to get a two-year-old into shoes because you’re late for the doctor appointment and you haven’t showered in three days, and you ate cold, leftover mac n cheese for breakfast and you’re not sure if that’s their diaper that smells or the dog…

Keeping on top of the little fires that come up isn’t easy but I encourage you to set a flexible schedule (it works with kids; it works with writing). Give yourself two hours ideally but really whatever you have is fine. Leave half for just writing. Leave the other half to fix plot holes, develop your character’s personalities and backgrounds, build on your story arc, and brainstorm solutions for things that are cropping up as you pour ever more work into the novel. Look at it like doing the groundwork of, feeding, changing, and burping for half of it, and the other half cuddling, coloring, singing, and playing.

A well rounded “story” is equal parts meeting the basic needs and getting to play in the creation of it.

Good luck out there. Nap when it naps, grab a shower while your computer backs up. Drink some coffee and prep for the long nights. Remember the bigger picture. Novels and babies are investments in the future. The work, and love, and committed care you invest now will lead to rewarding results in both your story, your characters, and your craft.

Oh…and get a decent meal. You can’t run on PB&J crusts and half eaten apples forever.

NANOWRIMO Week One: The Honeymoon

Ah, yes, the glorious stage of excitement and foreplay. The thrill of fleshing out your characters, and having them say clever things to one another, and building beautiful worlds with soft hues and brilliant sunsets. It’s champagne and butterflies, it’s rainbows and 3 hour love-making sessions with your laptop (please, God, not literally…the keys are hard enough to keep clean with just my coffee and pastry habit).

The words come easy, the beginning is new and exciting, the chemistry is just right. Possibly you’ve been planning this novel for awhile, maybe you even used October to plan it out and things are running smoothly and in great gushes of inspiration and excitement. (I think ‘gushes’ might be just as bad as ‘moist’ for cringe-worthy words).

OR

You’re stuck in front of your blank page and wondering why in God’s name you agreed to this. The stress of completing such a herculean task is causing every neuron to march around your addled brain with tiny little picket signs protesting the ridiculous workload before they even endure it.

You’re thinking of giving up. It feels as though you agreed to do this on a brash weekend in Vegas and you might have done so under the influence of alcohol and you really don’t know this book that well and what will your parents say and… is it too late for an annulment?

In the first case: Congratulations, keep going! If you have the stamina and inspiration to do so, front load these first couple of weeks so you can have a few days to ride if you need to recover. (I can’t help but hear Sheriff Bart’s voice in my head “Man, them schnitzengrubens will wipe you out!” Come on, people…Blazing Saddles)

In the second case: Don’t give up just yet. So she/he’s a gamble and you may have rushed into things. It’s normal to be nervous. It’s normal to feel like there’s nowhere to go. But you’re a writer. And writer’s do best when they stop questioning the end product and just write. See where that impromptu spouse will lead you, let it play out for a few days and enjoy the crazy weird ride that you’re on.

The secret to NANOWRIMO is to not overthink it. Because that’s when you start looking for all the imperfections and plot holes that send you into editing mode and canceling out any forward movement you have.

If you’re having trouble with getting your word count every day here’s some tips that have helped me:

  1. Break it up into smaller sections. A little in the morning, a little at lunch, some at night. Carry the laptop or notebook with you and write a few lines whenever you have a chance
  2. Keep your characters in your head with you at all times. How would they react to what you’re doing? What would they say to each other in the grocery store line? Let them talk to each other while you’re doing the dishes or in that third useless meeting of the day (come on, we all know at least 2/3rds of all meetings are just wastes of time that allow one person to hear themselves talk).
  3. Strike when the fire is hot. If you are on a roll, do everything in your power to keep writing…then in the middle of a paragraph or even a sentence–stop. Yeah, you read that right. Stop. It will frustrate you and keep your mind on what will happen next until you pick it back up. Foreplay people…there’s nothing like a little flirtatious teasing to make the next interlude all the more passionate.
  4. DO NOT be discouraged if you have a short day. Every word counts and a 400 word day is still 400 words. Like running or training, or anything really–great things are accomplished not always in leaps and bounds but by small progressive steps forward.
  5. Rest your fingers and your brain. Take breaks, sleep well, eat well, exercise, and get away from it throughout the day. Burnout probably happens most in the first couple of weeks when our inspiration gets ahead of our ability to keep at it with the same frantic pace.

Okay. That’s all I’ve got for this week.

Remember, comment below with how it’s going or send me quick email with any frustrations or elations you have and I’ll enter you to win a goodie basket with some books and writer self-care stuff that will help keep you going into this crazy month.

Good skill, Writer.

Romancing The Story

Please tell me I’m not the only one who remembers these movies. I think, they may be partly to blame for my current profession (not the karate instructor—the other one, that pays even less). I loved the quirky, unrealistic way that the original frumpy romance novelist came upon adventure and began living the kinds of stories she only wrote about before. I also loved that by the second film we see her living this exotic and adventurous life and still suffering writers block brought on by lack of romance in her characters.

How I imagine I look as a tough-ass romance novelist
What I actually look like, flannel pjs and all.

Because no matter how much adventure, vine-swinging, sheik angering, and Jewel finding you do, if you’re not in love with your novel, no one else will be either.

Bam. Mic drop. Blog finished, I can go take a nap….

*sigh* ok, I’ll elaborate.

Romance isn’t just about what happens between the sheets in a typical Harlequin. Romance is about creating a smolder, a heat, an intrigue between your characters, and between your story and your readers.

When I titled this blog, I worried I would lose those writers who focus on different genres and have little need for ‘romance’. Suck that (respectfully), we all need romance. Humans are born to seek out connection. Now, the phases of it and levels of requirement are different. But the truth remains that if there isn’t chemistry between your characters…be it platonic, hate, or lust…the story will fall flat.

Well, gee whiz, Sarah, what do I do about my Scifi Cowboy Inter-dimensional six book series where no speaking women exist because I’m THAT kind of author.

how much talent, great story writing, and acting did we lose in this era from all the stereotypical, misogynistic bullshit? The world may never know.

First of all—ugh, way to cut out 50% of the entire thinking, capable, and amazing population and demote us to some hot object in a skimpy space suit, so 1960’s of you. Secondly, your ‘lone star’ lead has to have some connection to someone or something. A loyal side kick, his long-lost brother, his space ship, or *puke* if you must, even some hot object in a space suit.

Otherwise, he lacks a pathway for your reader to connect to him. Characters that ‘don’t need anybody’ are fine, but you may find that attitude extends to your readers. They won’t need him either. Characters, even the lone wolf, are better if they really do need people and are just too afraid to say something, until somewhere in act three.

“Hurrumph—well, I write non-fiction only. There is no romance. Its fact and common knowledge. I do not deal in fluff.”

Lady, (or mister?) listen. The numbers of readers you will get from a book that is all fact and no heart (i.e. romance) will be disappointing. I can’t think of a single person who goes back to their high school American history book and eats up 100 pages on the American Revolution (I’m sure they exist okay, there’s nothing wrong with a good ol’ informative book). I can, however, name numerous people all salivating over Hamilton tickets. Why? Because THAT story, makes us fall in love with the characters. The writer found romance in the people, situation, and actions of the time. It created a bond by connecting us to common feelings, needs, and emotions. And that’s what romance is really about in writing. Appealing to the human divine in all of us.

So, in this made-up month of love, explore your current work in progress and ask yourself if you are in love with these characters, their story. Ask if your character is hell-bent and heart centered on someone or something three-dimensional to ground themselves to. Is it throwing spice into the reading? Or is the plot fizzling? Where and how can you use romance to draw in and maintain your reader’s attention?

After all, romance is not romance, if it doesn’t have an anchor of reality at its heart.

The Beautiful Writers Workshop: Novelty #8–Talk To Me Goose…or Dialogue

All right, listen. Top Gun did not have the best dialogue. At all. Like…not even remotely. BUT… I liked the headline so deal with it.

Today in the blog we’re talking about…well, your characters talk. Affectionally known as Dialogue. Writing dialogue like any aspect of your novel is an art, and one that will allow you to not only reveal character traits and all of those ‘shown’ details, it will also drive your plot. If you’re good at it, it will help your reader to know your character better and *gasp* if you have a flair for it, will provide extra entertainment. I’m a HUGE fan of witty banter when it’s appropriate. I’m a HUGE fan of letting dialogue tell the reader how two characters feel about each other.

Take this little gem from “Finding Destiny”: Hank and Daniel are two of my favorite characters to create a scene with. They’re brothers and love each other deeply. But they’re brothers, so that love is shown in obnoxious teasing. Take a gander–

“Everything OK?” Hank asked after an uncomfortable amount of silence.

“Yeah, I just… I just have this gala thing to go to for the university in a couple of days and, I… I’m supposed to bring someone.” Daniel paused and looked at Hank.

Hank took a moment to swallow. Then he batted his eyelashes and waved his hand in front of his face.

“Oh! I’m just so thrilled you’d ask!” he shrieked in a falsetto voice. “Oh! You’re so dreamy!”

Daniel threw a piece of bacon at him and laughed. “Not you, jackass.”

“What about Maggie?”

Daniel shook his head.  “Maggie and I don’t really—”

“Do anything that requires clothes and public places?” Hank raised his eyebrow.

“We sort of haven’t seen each other since the once…” Daniel’s voice trailed off. He still didn’t feel exactly right about what had happened between him and Maggie, or how Destiny had witnessed the start of their one-night stand.

“No wonder she’s been shooting nasty glances at me the last few weeks,” Hank chuckled into his coffee.

Daniel sighed in exasperation. “I was going to ask you…if you’d mind…if I took Destiny.”

Hank inhaled his biscuit and started coughing. His face turned red and his eyes welled up. He looked sideways at his brother as he pounded his chest with his fist.

“Destiny?” Hank wheezed.

“Yeah.”

“Destiny Harrison?”

“Yes,” Daniel said, annoyed.

“Red hair, tall, drawly, hates-your-guts Destiny Harrison?” Hank took a drink of coffee to clear his throat.

“Yes, Henry! That Destiny.”

Hank held up his hand.

“First of all, there’s no need to call me Henry. Second, I thought you hated her, too. But mostly, why in the hell do you think I’d mind? She and I aren’t…like that.”

“Well, I didn’t know! You spend a lot of time with her. And I don’t exactly hate her. I just—” Daniel sat forward in his frustration and loss for words and looked out the window.

“Well, we only spend so much time together because neither one of us has a life outside of the shop.” Hank stopped with his coffee halfway to his mouth. “How embarrassing is it that I just admitted that?”

“It was pretty pathetic.”

“Yeah.”

“So?  Do you think she’ll go with me?”

Hank shook his head in bewilderment. “I don’t know, Danny. What about that ‘hating you’ part?”

Daniel remained silent and watched out the window. What about that?  He thought of her warm body pressed to his in the fervent moment of thanks. He thought of her shapely breasts beneath the nightgown, and the smell of her. The shyness of her kiss. The way she had gotten snippy when Maggie had stayed over. Hank paused at the unusual look of self-doubt on his big brother’s face.

“I think if you could get her in a dress, she’d do all right. Assuming she did say yes,” Hank said.

“Yeah,” Daniel said, displaced.

“Maybe if you ask her nicely…you know, not like you?” Hank said.

“What the hell does that mean?”

“Well, you know…come down off of your high horse. Just a bit. And stop being such a surly son-of-a-bitch!”

“You sound like her now.”

“I’m just saying that a little honest humility and admiration goes a long way.”

Daniel stayed quiet. Humility wasn’t really his thing. He wasn’t very good at admiration, either.

Hank continued. “And if she says no, I can rock a strapless like you would not believe, girlfriend.” Hank snapped in the air and winked.

Daniel threw his biscuit at his brother with a laugh. “Shut up.”

So, we get to see some deeper dimension here, with Daniel’s secret insecurities, his blossoming interest in Destiny as well as Hank’s affection for them both. We set up for a minor climax (asking Destiny on the date) as well as establish the risk involved. All while doing it with a sense of humor.

The import aspects to remember in writing dialogue are below (been a while since I bullet listed for you)

  1. Dialogue needs to be real. By that I mean if it is forced (for the purpose of info-dumping), contrived (how convenient to drop that info into conversation even though they had no other reason to talk…), or sounds like an outside narrator suddenly taking over your character’s body (Hey! Where did their drawl and/or British accent go?) your reader is gonna know. So make it a conversation.
  2. As mentioned above, keep your character’s in their character. If they don’t normally say much, save the monologuing for others or some big reveal moment. Many a time I’ve had to edit a dialogue because I saw too much of me in there. Tricky me, trying to steal the conversation. This comes with knowing your character and what they would or would not say.
  3. If the dialogue doesn’t do any of the magical things listed, (furthering plot, character development, information snacks etc) and its just in there to fill space or act as a buffer don’t be afraid to cut it.
  4. Read your dialogues out loud! It’s the only way you’ll know for sure that they sound real and authentic to your characters and to the story. This is also a great way to catch mistakes and to ensure dialect and vernaculars are in place.
  5. Don’t be afraid to use abbreviations and slang if it’s true to how your character talks. Destiny Harrison said “ain’t” a lot. Spell check hates “ain’t”. Doesn’t matter what the spell checker wanted, she ain’t changing for it.
  6. I could give you a spiel here about dialogue tags (ie ‘he said’, ‘she yelled’) after your character’s speak. I’ve heard both sides. In my kids’ writing classes they are encouraged to use something other than ‘said’ to liven the action, express the tone, etc. In my adult-y writing classes, I’ve been told to cut the flowery bullshit and stick with ‘said’. The idea being that if your writing is good enough, the tone and character already established, the reader will read the dialogue in the feeling intended. My advice? I don’t like either of these approaches. Sometimes a simple ‘he said’ works, sometimes, I get bored as shit with that and when my characters talk in my head, they rarely just ‘say’ stuff. I may err more on the side of the flowery therefore, but I don’t do it so much that very ‘please pass the butter’ moment is fraught with tension.

Okay. That’s it for dialogue today.

I think…(she said with a gasp), that might even be the end of our writing series on the Novel! (she yelled?) I’ll check in on that and get back to you next week. Until then, go over your dialogues, check their authenticity and tone. How can you make them better? More real human-like? Read them aloud, don’t ALWAYS listen to your spell checker. Write. Write Write. Good luck out there. See you soon.

The Beautiful Writers Workshop: Novelty #7– Setting

Photo by James Wheeler on Pexels.com

Good morning! So, here we are. Working our way through the bulleted list on Novel Writing. Today is about setting, but before I build up that world, I would like to remind you:

Keep in mind, there are many intricacies to writing a novel. It can’t all be learned in 7 points. Or 25. Or even 100. Most novelists have one or two ‘starter’ novels that never see the light of day. Because the process of writing a complete novel is, in itself, the real lesson of what does and doesn’t work. Until you do it, write it, fight through it, you won’t truly grasp which elements are most important, and how to get through the problems that you will inevitably face.

Now–on to Setting.

Setting is the world where your characters live, where the plot takes place and what influences those major themes. Setting includes physical space (mountains, city, country, house, street, etc), time period (modern day, future, Elizabethan England), multiplied by fiction and non-fiction (3050 space opera set on a distant planet versus 1944 Italy during the Second World War).

Photo by Miriam Espacio on Pexels.com
Photo by Pixabay on Pexels.com

I am a firm and staunch believer that setting is, itself, integral as a character in your story. Setting will dictate so much of your novel. The physical and temporal surroundings of your characters limit or promote certain behaviors, patterns of speech, choices, and opportunities. The setting, say a creepy old house on the coast of Maine, can even be a character itself, lending an influential factor to the events that play out. (Wouldn’t be the same if Destiny Harrison had moved into a swanky new apartment in L.A.)

My first piece of advice for setting is that if it is someplace or some time you aren’t personally familiar with, do a shit-ton (yes, that’s a real measurement) of research. If you can (time-machines not withstanding) visit the place, the area. Get a feel for it. Even better, do it in the season or hour that takes place in your novel.

If you have a scene on the harbor at dawn, your description will be more apt if you’ve been on a harbor at dawn. If you’ve never seen the bursting yellow of aspens in October, it’s hard to capture the exact shade of gold against the pinion green.

Secondly, when building the world of your novel, utilize all the senses. How does the sunlight break over the mountain? In dusty, slow waves or in a brilliant flash? Does the air feel crisp on the tongue or heavy with heat? What do you hear? This all goes hand in hand with showing the audience, not telling. Jack didn’t feel the heat of the fire. The fire seeped beneath his skin.

Thirdly, when you approach setting it is VITAL to find the balance between description and information dump. A common mistake (in my humble opinion) in even the most prolific writer, is to go on a little too long building the “world moment” to the point the reader is bogged down or the pace slows. Now, I understand, that some novels require a good solid understanding of their worlds (often if it’s unfamiliar to the reader– ie a sci-fi/fantasy or historical fiction). But, if you can manage, feed these tidbits to the reader throughout. Think snacking not gorging. Offer what is relevant, what moves or enhances the scene, or gives hints or important clues for later on in the book, then draw back and let the audience digest it.

Setting is a great place to build imagery, be a little poetic, and really put your reader in the middle of your novel. Similarly, sometimes the most simple of descriptions can be effective so don’t overwhelm with too long or heavy paragraphs.

Make it a living, breathing entity of the book, something that becomes part of the whole in a way that is inseparable from the action, characters, dialogue and voice.

Photo by stein egil liland on Pexels.com

This week, look at your work in progress, pick out a particularly rough scene and ask yourself what’s going on with the setting. How can it influence or help your characters actions? Look at your longer paragraphs, are there moments where your readers might be caught in a deluge of description? Boil it down to the instrumental aspects of setting. What tone does it overlay? Does that enhance the other pieces?

Okay. Good luck out there. Let me know how it goes.

The Beautiful Writers Workshop Novelty #6: “The Kid’s Got Style”

Good evening, my little writing gnomes. This evening I’m writing from the NCW’s writing fall writing retreat in Estes Park, Colorado. Firstly, if you’ve never taken a weekend, or a few days, to do nothing but devote time to your craft, I highly recommend you give it a try. When you aren’t weighed down by laundry, school emails, or cat’s randomly vomiting out food that they didn’t apparently feel like chewing, you can actually get a lot of things done.

We’ll talk more about that in a later blog. Today…it’s all about STYLE.

Style isn’t regaled to only novel writing. Every author has a voice. This is not the Point of View, as we discussed last week. A voice is an author’s particular way of writing. If you want to look at the extremes, you could compare the works of F. Scott Fitzgerald to those of Ernest Hemingway. Contemporaries and acquaintances (it’s argued if they were actually friends) they shared a propensity for two things, drinking and good writing. Beyond that, they had incredibly different voices. Hemingway was a man’s man, bull-fighting, womanizer. Fitzgerald was more introspective, a romantic, one might say. And their voices showed it and affected readers differently.

This quote hangs above my desk:

“For what it’s worth: it’s never too late or, in my case, too early to be whoever you want to be. There’s no time limit, stop whenever you want. You can change or stay the same, there are no rules to this thing. We can make the best or the worst of it. I hope you make the best of it. And I hope you see things that startle you. I hope you feel things you never felt before. I hope you meet people with a different point of view. I hope you live a life you’re proud of. If you find that you’re not, I hope you have the courage to start all over again.”

― Francis Scott Fitzgerald

Before you move on…read that again. Can’t you feel him speaking to you? Can’t you feel a hand on your shoulder or even a hand on your back (as one of my favorite inspirational women says: https://www.christinedercole.com/s/) encouraging you to take action, to not be dissuaded?

In contrast:

“You expected to be sad in the fall. Part of you died each year when the leaves fell from the trees and their branches were bare against the wind and the cold, wintery light. But you knew there would always be the spring, as you knew the river would flow again after it was frozen. When the cold rains kept on and killed the spring, it was as though a young person died for no reason.”

― Ernest Hemingway

First–did anyone else notice what POV he just used? Come on…it was only a week ago. The dreaded 2nd and he, as always, did an amazing job. Listen, in my humble opinion, Hemingway was kind of a giant misogynistic ass, but he could write a fine damn sentence, and his work cut through your skin like wind on a cold February day. But notice the colder, darker tone. The harshness.

The difference between those two is not in their brilliance. It’s in the feeling they evoke, and to me, that’s what your voice is. A writer cannot help but leave a trace of themself on the page. It’s probably why my heroines curse, or why setting to me feels like it always needs a bit of poetry–utilizing the senses to accentuate.

I’m a bit more Fitzgerald than I am Hemingway…But I’m all Sarah. And you are all you.

STYLE is what makes your story, even if it fits a trope or a formula, unique. Because no one is you. No one has your experiences, your vernacular (why you might say wa-r-sh instead of wash, or creek instead of cr-ic-k), your vocabulary, your turn of phrase, your tone.

I’ve tried to read ‘popular’ authors that I just couldn’t stand because they made a point to turn every sentence into a dictionary-induced game of look-up-the-word or strayed too far from the point. I’ve read simple shorts that didn’t use a word over 15 letters long that left me with chills and turning the page hungrily.

It’s not in the size, its in your style (remember I said that fellas).

So… I don’t have much to elaborate on here. I can’t train you to write in your own voice. You just have to write and see what comes of it. Are you poetic? Are you straightforward? Are you humorous? Do you tend to sink into the gray dark, or do you lift up towards the light? When you write are you telling the story to an audience, or to a friend? Every day may be different for each of us, but in total, your ‘voice’, your STYLE, is the way you tell a story.

So, look over your work in progress, short stories or poems you’ve written, and try to feel out what your voice sounds like. It’s hard to do this, so feel free to enlist the help of outsiders (friends, family, book groups, critique groups).

You will know your voice when you hear it.

Stay true to it, because if you ever try to write in someone else’s, your story–your work, will suffer.

We can’t all be Hemingway. Please, God…don’t let us all be Hemingway. We need Plaths and Fitzgeralds. We need Rowlings and Brookses. We need it all. The whole spectrum of style.

So get out there and write true to yours.

The Beautiful Writers Workshop: Novelty #5: Point of View

Thank you to the beautiful people at Grammarly for this awesome little image of Point of View.

Whilst (I love using that word) typing up the title today I realized, that all of these blogs on novel writing can also be used in other aspects of your writing. Short stories, flash fiction, non fiction, and even poetry all contain aspects of plot, character, and point of view. In a novel, however, consistency of your point of view is crucial for keeping your reader snuggly in your world. Shifts in POV can cause confusion or jar them out of the story.

So today, we’re going to briefly discuss the typical types of POV as well as which ones are most effective to use.

For the budding writer, I’ll lay down some foundation.

Point of View is basically who is telling the story.

In First-Person POV, then the action is happening to the person telling the story (the narrator is the main character). Here, a writer uses “I/We” mostly while only using “he/she/they” as outward observations. They can tell you what they see, feel, hear, know, etc, but they can’t tell you what anyone else sees, feels, hears, or knows. The best way to show those things are through action and dialogue AND by having faith in the reader to understand by your clues the general idea.

Second-Person is the red-headed step child of writing POV. I’m sorry. I said it. Second person uses “you” and “your” and they narrator speaks directly to the reader. “You were amazed. You’d never seen a chicken with five legs.” They make you part of the story. I suppose some of my blogs have been in 2nd person, non-fiction informative may utilize this POV. I’ve never used this in a short story or my fiction but occasionally it creeps into my poetry. In fiction, it’s very difficult to do well. (“Bright Lights, Big City” by Jay McInerey, “The Sweetheart” by Angelina Mirabella, “The Night Circus” by Erin Morgenstern)

Third-person is an outside narrator telling the story from a distance (she/he/they). When it gets closer in (think into the characters’ heads) it’s called third-person omniscient. Third-person is popular with light fiction, serial romance, cozies, beach reads, sci-fi, fantasy etc. The tricky part of this POV is being able to stay focused on one character at a time. If the story dictates it (two or three main characters) I will switch POV in Third by chapter, possibly by section, but never by paragraph or within the same scene.

We discussed each typical type, but how do you know which one is best for you? Well, part of this comes down to your writing style. When you write, are you the character? Are you in their mind, in the arena, in the pilot’s seat? Or are you observing them, building the world around them and telling them what you see from above? Are you walking them through the story, a sort-of inward conscience to their journey? Which genre is your story? What’s the purpose of the story?

All of these factors can make writing in the right POV harrier than my old math teacher at the swimming pool (Hey! Take the sweater off before you get in–oh…wait…sorry!) Some genres are more lenient as to how much you can change or shift the point of view. Some genres really do best when one specific POV is used.

Take memoir for example. This type of storytelling should be first person, past-tense. Period. That’s your story, it happened to you. You are telling it.

Now, romance novels can dance on the edge of third-person, third-person omniscient, or first-person.

Most contemporary fiction these days is first-person (think Hunger Games) or if you’re feeling fancy, 2-person, first-person (look at Gone Girl–a book told in first by two different main characters–very clever)

I am wont to say that sci-fi and fantasy tend to be third person, due to the world building that has to occur. But it can be done marvelously in first as well (check out “The Martian” which tickles both first and third).

The important part about POV (especially when working with third) is that you stick to a strong, non-passive-voiced point of view that stays in its lane.

Check this out:

“You’re such a selfish prick!” Jill yelled and slammed her fist into the table upsetting the spoons. She’d had enough of his late nights at the track and the dwindling bank account.

Bob jumped back at the sound. His heart fell to his gut and he felt like crying. He couldn’t believe he’d lost their honeymoon money. He was only trying to double up on the winnings so they could have a bigger trip.

Jill paced the room in a fury. How could he? After she had been saving for months and months so they could go away…

Yowza. For one–this is a lot of information dumping out on your reader. You can’t describe your main character’s (Jill) thoughts and feelings about Bob and then in the next paragraph have Bob spring into an inner dialogue on his thoughts and feelings about her. It’s called head hopping and it confuses the readers. Only a few really talented authors can make this happen and not lose the reader (I’m looking at you Nora Roberts).

Don’t cause a ruckus. If the character you are writing for (be it third or first) isn’t a goddamn mind reader then don’t describe things they wouldn’t know.

If you want the reader to have the information, you show through body language and dialogue.

“You’re such a selfish prick!” Jill yelled. “I can’t believe you blew our savings at the tables!” She slammed her fist into the table and knocked over the cup of spoons.

Bob hung his head and swallowed. His voice trembled. “I’m sorry.”

“Sorry? Sorry doesn’t even begin–“
“I was only trying to–” Bob started.

“It doesn’t matter!” she yelled. “You don’t get another chance to make this better!”

Here, the reader has enough information to gather how Bob feels without dropping us into his head.

Ok. Whew! Speaking of info dumps, huh? Take a minute to absorb all of that. Think about your story, what you’re trying to do, who you’re trying to follow, and how you want to bring the reader along. If you’re writing short stories, experiment with all the types of POV. I’ve only written a few things in first and its very powerful, but for some reason, it’s very hard for me. My comfort is in Third-Omniscient, but as in all things in life, we have to push our comfort zones to be better. So…push your zones, get uncomfortable.

Pick a POV per project and stick with it.

Until next week. Happy writing!