Quick Links: Ten Clever Ways To Keep Your Reader Enthralled

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We all want readers to love our story, to not be able to put them down until the last page is read, and then having our readers want more.  Sue Coletta over at Writer’s Village shares with us ways we can accomplish this goal. What is your favorite writing tip to keep your readers hooked?

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Ten Clever Ways To Keep Your Reader Enthralled

by Sue Coletta
June 10, 2016

Boy readingWe all know how to inject pace into our stories, don’t we? Just drop in a lot of exciting moments and space them with ‘scene hangers’. ‘Little did I know that my life was about to change forever’, and the like.

But hangers are clichés. Sure, they’re useful but not right for every story.

So what else can we do to keep the reader enthralled? Turning our every page? And wholly immersed in our story?

Top crime suspense writer Sue Coletta reveals ten tricks of the trade. We can adapt them to any genre!

1. Language itself is the subtlest means of pacing.

Throw away those passive expressions. ‘His head was hit by something sharp and cold.’ Yawn...

Think concrete words.

Concrete words are nouns that we experience through our senses. Example: smoke, mist, iceberg. Use active voice plus sensory information that’s artfully embedded. If you write long, involved paragraphs, try breaking them up into shorter ones.

‘Hail pounded his head. Icy water down his spine. He drew his collar round his throat and shivered.’

Drop in lots of white space.

Fragments, staccato sentences, and short paragraphs quicken the pace. They also give the page visual texture. At a glance, it looks interesting.

Crisp, punchy verbs, especially those with onomatopoeia, add a lot of tension to a scene. Onomatopoeia? It’s the formation of a word from a sound associated with what is named. Example: sizzle, crash, scamper, lunge. ‘The steak sizzled on the grill.’

Examples of staccato sentences are: ‘She froze.’ ‘He paused.’

At a moment of tension, why say more?

A sentence fragment might be: ‘Deliberate.’ ‘Intentional.’ ‘Dangerous.’ For example: ‘The pit bull growled at me. Dangerous.’

The reader can easily digest one or two word sentences so they speed up our pacing.

Quick Link: Deepen The Protagonist to Readers By Challenging His or Her Moral Beliefs

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Want readers to invest in your main character? Make them interesting. How? Give them depth and reasons, show why they do the things they do. Nothing is more boring than a perfect character who always knows the right thing to do and does it. Challenge their morality. Push them to the edge and see what happens. That is what Angela Ackerman over at Writiers Helping Writers helps us to learn this week.

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Deepen The Protagonist to Readers By Challenging His or Her Moral Beliefs

This is what I found when I searched for "perfect" and the title, I kid you not is "The Perfect male body". Someone totally needs more depth.
This is what I found when I searched for “perfect” and the title, I kid you not is “The Perfect male body”. Someone totally needs more depth.

When we sit down to brainstorm a character, we think about possible qualities, flaws, quirks, habits, likes and dislikes that they might have. Then to dig deeper, we assemble their backstory, plotting out who influenced them, what experiences shaped them (both good and bad) and which emotional wounds pulse beneath the surface. All of these things help us gain a clearer sense of who our characters are, what motivates them, and ultimately, how they will behave in the story.

But how often do we think about our protagonist’s morality? It’s easy to just make the assumption that he or she is “good” and leave it at that.

And, for the most part, the protagonist is good–that’s why he or she is the star of the show. The protagonist’s moral code dictates which positive traits are the most prominent (attributes like loyalty, kindness, tolerance, being honorable or honest, to name a few) and how these will in turn influence every action and decision.

In real life, most people want to believe they know right from wrong, and that when push comes to shove, they’ll make the correct (moral) choice. People are generally good, and unless you’re a sociopath, no one wants to go through life hurting people. Sometimes it can’t be avoided, but most try to add, not take away, from their interactions and relationships.

In real life, most people want to believe they know right from wrong, and that when push comes to shove, they’ll make the correct (moral) choice. People are generally good, and unless you’re a sociopath, no one wants to go through life hurting people. Sometimes it can’t be avoided, but most try to add, not take away, from their interactions and relationships.

To feel fully fleshed, our characters should mimic real life, meaning they too have strong beliefs, and like us, think their moral code is unshakable. But while it might seem it, morality is not black and white. It exists in the mists of grey.

Quick Links: How to Read Critically and Become a Better Author!

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Reading is my favorite homework assignment ever! But I don’t think the kind of reading I like to do is what Kristen over at She’s Novel is talking about. Instead of devouring books, Kristen recommends slowing down and really examining how your favorite writers write.  It really is a great post, so go check it out.

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Grow your writing skills by analyzing what you read

Quick Link: Now a Word from the Copy Editor . . . Nan Reinhardt – Anachronism

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An anachronism is anything in a time period where it doesn’t belong, and it can bring your reader’s experience to a jolting halt. Copyeditor Nan Reinhardt from Romance University, discusses anachronisms at length and why they are so bad for your story. I am pretty sure I never want to play against her in Trivial Pursuit. Read the article and you will see why. ; )

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Now a Word from the Copy Editor . . . Nan Reinhardt

Copyeditor Nan Reinhardt gives us a new word of the day – and a reason to hope we never get to use it when writing our books!

TimeAnachronism—it’s a great word, isn’t it? I love words and this is one of my favorites because if you don’t already know it, you can’t even begin to guess the meaning. Am I right? And when someone uses it in a sentence, like “Kind of anachronistic, don’t you think?” you have to be right in the moment to get the meaning and even then, it might not be obvious. No, most of us don’t get this word from context and I confess, as a newbie copy editor, the first time I heard a project editor use the word, I had to look it up. I wasn’t going to be able to “watch for anachronisms” in the manuscript I was editing if I didn’t know what the devil an anachronism was.

So, Webster tells us an anachronism is “an error in chronology; a chronological misplacing of persons, events, objects, or customs in regard to each other; a person or a thing that is chronologically out of place; especially one from a former age that is incongruous in the present; the state or condition of being chronologically out of place.”

Make sense? Try this, in a historical romance I once read, the setting was pre-Civil War Georgia and the heroine was having a ball to celebrate her engagement. A friend came to the plantation and admired the flowers—dozens and dozens of orchids—that the heroine had used to decorate the ballroom. The heroine said, “Aren’t they lovely? I had them flown in from Bermuda.” Okay . . . hmmmm. Interesting. First of all, who flew them in? In 1856, the only things flying were birds and hot air balloons, neither of which could have brought hundreds of orchids from Bermuda to Georgia. Anachronism! Maybe in 1956, she could’ve had orchids flown in to Georgia, although if she’d done some fact-checking she’d have discovered that orchids aren’t indigenous to Bermuda—they don’t grow well in the ground there, so even Bermudans have to import orchids if they want them or grow them in pots.

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Quick Links: How to Create Legendary Villains

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Yesterday we talked heroes and character development. Today it is villains and… character development.  Every great story needs a great villain. Really memorable antagonists allow you to almost identify with them, because everyone is a hero in their own story.  Kristian Lamb shares her thoughts on what makes a bad guy legendary.  I always sympathized with Frankenstein’s monster, especially after I read the original classic story. What villain resonates for you?

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How to Create Legendary Villains

Excellent.....
Excellent….
by Kristian Lamb
May 9, 2016

This past Saturday I held my Bullies & Baddies class and a couple of the folks posited a really good question worth talking about. How do we write great villains? One of the reasons I love holding this class is that all stories require a core antagonist (who is responsible for generating the story problem in need of resolution), but there are different types of antagonists. All villains are antagonists but not all antagonists are villains.But since we went there, what goes into creating a truly terrifying villain?

I watch a ton of movies and television series. I also read around three novels a week. I’m always studying, breaking stories apart so that I can understand them better. I do it for my fiction, but also so I can share what I learn with you guys.

Though the series isn’t for everyone (it’s pretty gory), I particularly love FX’s American Horror Story for studying villains. AHS is one of those shows that you have to get a few episodes into before you connect, namely because it is often cast with truly despicable characters.

It isn’t until you get a few episodes in that the writers start peeling back the layers and exposing the delicate undersides of the villains…and that’s when you really begin to care for them.

I know. Seriously. AHS is some of the best writing out there.

Jessica Lang almost always plays the core antagonist in each season of AHS (though she was absent in Season Five and it was evident). Of all the seasons, though, Season Four Freak Show was my favorite and that’s what I am going to use today. Btw, there is a bit of spoiler alert, but it’s necessary. So what do we do to really make the villain POP?

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Quick Link: How To Keep Writing: 5 Tricks To Sneak Past Perfectionism

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I have learned that I use perfectionism to deal with fear of finishing my work. One of the ways I have been dealing with that in my writing is by participating in the annual NANOWRIMO challenge.  It really helps to improve my writing and gets me moving. Michelle Russell at Write To Done gives us five tips to deal with perfectionism that might be holding you back from writing success. 

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How To Keep Writing: 5 Tricks To Sneak Past Perfectionism

We won't talk about the issue of being distracted by too many cat videos....
We won’t talk about the issue of being distracted by too many cat videos….

By Michelle Russell

Have you been sitting in front of your computer for what feels like hours?

You know the feeling.

Typing a few words, deleting them, groaning in frustration, getting a couple of sentences down only to decide they’re not quite right…

You’re about ready to tear your hair out.

You recognize what’s happening, of course. Your inner perfectionist is rearing its obnoxious head, inciting an epic battle between you and the blank page.

And the blank page is winning.

This could happen for several reasons.

Maybe you’ve got a deadline looming and you’re under time pressure.

Maybe you only have a rough idea of what you want to write about, and you’re worried it’s not going to come out coherently.

Or maybe you care so much about your subject matter that you’re afraid you’ll never do it justice.

Whatever the cause, you’re stuck. Of course you’ve heard all the well-meaning advice about not being a perfectionist; to just get something written that you can edit later.

But you honestly can’t write just anything.

Wondering how to keep writing?

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Quick Links: 6 Tips to Help You Finish Your Book

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Over on Helping Writers Become Authors, encourages us to actually finish writing our books. Which is apparently very useful information for a bunch of us, me included… Perhaps I should reread this article daily. Have you finished writing your novel? Congratulations and what are your tips?

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6 Tips to Help You Finish Your Book

May 1, 2016

111-1113tm-vector2-688by K.M. Weiland

Every time I hear about a writer finishing a book, I want to jump up and down and go into a gospel choir of Hallelujahs! It’s a momentous accomplishment for two reasons.

1. Finishing your book is the most important thing any writer will ever accomplish.

2. Not many writers do it.

Seriously. Depending on the source you examine, as much as 90% of the population wants to write a book. And many of those people will go so far as to actually begin writing something. But the percentage that actually finishes a book? Minuscule.

Why is that?

Easy. Writing a book is hard. Even dedicated writers like you and me find it hard to keep at it when the going gets rough on a story that just isn’t cooperating, for any number of reasons.

On Facebook, fantasy author Lee Diogeneia shared the results of a poll from her writing group:

Conquer 6 Obstacles and Finish Your Book

If the most important thing a writer can do is also one of the hardest–finish your book–then don’t you think it’s time you tackle some of the major obstacles standing between you and the finish line?

Let’s take a look at the six most common reasons writers drop their manuscripts–and how you can put habits in place to best every single one of them.

Obstacle #1: Discouragement

You know the drill. You wake up one morning, all bright-eyed and excited to be a writer–only to open your Scrivener file, look at your manuscript, and realize… this is complete rubbish.

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Quick Links: Six Ways To Self-Edit & Polish Your Prose

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I am a firm believer in hiring a professional editor.  That said, you want to put your best effort forward and do as much as you can. Lucky for us, Kristen Lamb is here to help us with self-editing tips so you can avoid the pants of shame.

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Six Ways To Self-Edit & Polish Your Prose

May 16, 2016

Editing your work has become a lot easier....
Editing your work has become a lot easier….

Kristen Lamb

Whether you are new to writing or an old pro, brushing up on the basics is always helpful. Because no matter how GOOD the story is? If the reader is busy stumbling over this stuff, it ruins the fictive dream and she will never GET to the story. So today we are going to cover six ways to self-edit your fiction. Though this stuff might seem like a no-brainer, I see these blunders ALL the time.

….unfortunately even in (legacy) published books.

When I worked as an editor, I found it frustrating when I couldn’t even GET to the story because I was too distracted by these all too common oopses.

There are many editors who charge by the hour. If they’re spending their time fixing oopses you could’ve easily repaired yourself? You’re burning cash and time. Yet, correct these problems, and editors can more easily get to the MEAT of your novel. This means you will spend less money and get far higher value.

#1 The Brutal Truth about Adverbs, Metaphors and Similes

I have never met an adverb, simile, or metaphor I didn’t LOVE. I totally dig description, but it can present problems.

First of all, adverbs are not ALL evil. Redundant adverbs are evil. If someone shouts loudly? How else are they going to shout? Whispering quietly? Really?O_o Ah, but if they whisper seductively? The adverb seductively gives us a quality to the whisper that isn’t already implied by the verb.

Check your work for adverbs and kill the redundant ones. Kill them. Dead.

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If you liked this article, please share. If you have suggestions for further articles, articles you would like to submit, or just general comments, please contact me at paula@publetariat.com or leave a message below.

Quick Links: The 6 Elements of Fiction

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Character, plot, setting, point of view, theme, and style. According to  these are the six elements you need for good fiction, and she goes into detail about each one over at The Write Practice.

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The 6 Elements of Fiction

Quick Links: The Joy Of Genre Mashing: 5 Tips For Writing Cross Genre

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Some books are very easy to put into a genre – like The Big Sleep (Philip Marlowe #1) by Raymond Chandler, 2001: A Space Odyssey by Arthur C. Clarke, or The Notebook (The Notebook #1) by Nicholas Sparks. Others not so much. Lines are becoming more blurry as authors try and find where they fit the best and to be honest where they can get the most exposure. Take the Twilight Saga by Stephenie Meyer which can be classified as romance, fantasy, and for some of us, comedy.  (Sorry!) 

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The Joy Of Genre Mashing: 5 Tips For Writing Cross Genre

A little sweetness, a little spice, makes my reading very nice!
A little sweetness, a little spice, makes my reading very nice!

Genre is a difficult word as many authors resist being ‘put in a box.’ But the reality is that, when you self-publish, you have to choose three categories for your book. And if you want a traditional publisher, they will have to put you somewhere too.

So I tend to think of genre as category these days. The problem is … which do you choose!

As J.F.Penn, I write across the boundaries of supernatural thriller, action adventure, dark fantasy, and crime with an edge of horror. When I first started out writing fiction in Australia, I met Alan Baxter, because he writes books that I enjoy with similar cross-genre themes. In today’s article, Alan explains how we can make the most of writing genre-mashing.

I am unashamedly a genre writer. But I find it hard to answer when people ask what genre.

Generally, I tend to write speculative fiction, which is the umbrella term for science fiction, fantasy and horror. Most of my stuff is dark urban fantasy and horror. But it’s rarely only those things. I include a lot more than just SFF tropes in my stories. I’m a huge fan of crime, noir, mystery, thrillers – in all honesty, I’ve never met a genre I didn’t like.

I’ve written a weird western ghost story, a novella that turns sweltering Sydney into a noir landscape where supernatural beings are dealing with mental illness, a historical pirate yarn with a cosmic horror threat looming over the world. My novels are paced like thrillers, dive through realms of crime and mystery, but are thick with magic and monsters and mayhem. And often a lot of martial arts, as I’m a martial arts instructor too and that’s the only other thing I’ve been doing as long as I’ve been a writer.

So how do we genre-mash without our stories becoming a mess? Here are 5 tips that I like to keep in mind:

Read the full post on

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Quick Links: Everything You Need to Know About Writing a 3rd-Person POV

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Sometimes your point of view can be terrifying...
Sometimes your point of view can be terrifying…

Chances are good you’re using a third-person POV (or Point of View) in your story right now. If not, then you likely used it in the past or will give it a try in the future. It’s a nearly universal writing technique and the most popular of all the POV choices. But are you using it correctly?

Not everything in writing comes easily. I often talk about how most of storytelling—particularly structure—is surprisingly instinctive for most writers. We understand it on a subconscious level, to the point we’re often on the right track with our books long before our conscious brains catch up.

But not everything’s like that. For most writers, POV isn’t like that. The gist of one of the questions I most frequently receive is: “POV????!!!!

I’ve written primer posts about omniscient POV and first-person POV, but I realized I still needed to do one on the most prevalent of all POVs—the third-person POV.

This is the POV of choice in more books than not—everything from Emma to Ender’s Game. It’s arguably the least complicated of the POVs, so it’s a good choice for beginning writers. But it’s also arguably the most flexible of the POVs, which means it’s also a good choice for the most advanced and complicated of stories.

Read the full post on Helping Writers Become Authors

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Quick Link: Believe It Or Not: How Not To Write Action

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Believe It Or Not: How Not To Write Action

The Perfect male body - Awesome boxing fighterTiffany Lawson Inman

A lengthy list of components must come together to create well-written action and fighting in fiction. One of the most important components is believability.

Believability in writing action and fighting is something that trips-up many authors and editors. I am including editors because I have read too many published books with out-of-place action words and phrases and sometimes entire action or fight sequences. So it would seem that the editors as well as the authors either don’t recognize the issue or don’t know how to fix it and it is then a rough spot for your readers.

Always be asking yourself if your characters are using the right actions.

Are the actions you have written for them even in the same skill set as that character?

Are they fighting a fight in your novel or have they transformed into one of the knife-wielding thugs from one of Harlan Coben’s latest novels?

You do not want your character to go from little Ashley, the ninety-nine pound Physiology major at CU Boulder, to Bruce Banner’s Hulk in a blink of a word or phrase. Unless this is a paranormal and she has super powers, of course. A beefed-up and out-of-place word or phrase will pop off the page and wedge itself between your reader and your story.

This is not a good thing.

Examples of out-of-place action words and phrases for the character’s skillset and theme of the book they were written for:

  • She launched herself out of the car window.
  • He targeted the man’s jawline and threw a fast jab that connected with a crack. He knew he had just broken someone’s jaw.
  • She turned back towards her attacker with a quick spin and side-kicked. The kick landed against his neck and she quickly readjusted her stance to get in few more kicks.
Read the full post on Writers In The Storm

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Quick Links: On Writing Dreams and Nightmares

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On Writing Dreams and Nightmares

elementsSo I got a question semi-recently from a reader about writing dreams and nightmares. I found this an especially interesting question, both because I was surprised I hadn’t covered it, especially given I’ve written a ton of dream sequences for various projects, including Beyond the Red.

Dreams are really interesting, and when done well, a dream or nightmare in a book can convey a few things:

  • Flashback/memory. Dream sequences can be a great way to flash back to or hint at an event from your POV character’s life, especially if it’s a traumatic event. Dreams are sometimes the way the brain processes difficult-to-process life things, and in writing they can be an organic way to look back at an important event in your POV character’s life.

  • A character’s fears, desires, or something they’re struggling with. I’m sure just about every one of you have dreamed about something you wanted, or something you were afraid of, or something you were sad about, or someone you missed, etc., etc. Likewise, in books, dreams can be a way to show character emotion—especially emotion that your POV character is trying to bury.
Read the full post on {Writability}

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Quick Links: Novel Research: 12 Ways to Ace Your Book

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Novel Research: 12 Ways to Ace Your Book

April 10, 2016

Who What Why When Where Signpost Showing Confusion Brainstorming And Researchby K.M. Weiland

I’m starting to get paranoid. It happens with every book I write. I reach the end of the first draft, start tying off loose ends on the first round of edits, and prepare to send the book to my first round of beta readers. That’s when I inevitably start asking myself panicked questions about the accuracy of of my novel research.

Maybe these self-directed questions will sound familiar:

  • What if my novel research isn’t good enough?
  • What if I put a street on the wrong side of the city?
  • What if I’ve got the dialect all wrong?
  • What if I’ve included a glaring anachronism?

The book I’m currently at work on—my historical superhero saga Wayfarer—is set in London during the Regency era (think Jane Austen). In many ways, it has been the most difficult of all the historical novels I’ve written, primarily because it takes place in such a popular period. I had some leeway in writing about the medieval Crusades (for one thing, the language is so different, perfect accuracy isn’t desired much less demanded) and the American west (where legend has taken over fact in so many areas).

But the Regency period? Put a chapeau-bras out of place, and fanatical readers will know it.

Never mind that the book is also set in London, which means correctly portraying a city I’ve never visited.

And don’t get me started on the language. Unlike the Middle Ages, 1820 isn’t so far away that the language of the period isn’t still decipherable to modern ears. What that means, of course, is every word choice must be filtered through not just the demands of British English, but also the question: Did that word even exist back then?

Cue the paranoia.

The Two Sides to Novel Research: Accuracy and Authenticity

There are two good reasons for any author to indulge in this paranoia over “the facts” in a novel (whether it’s historical or not).

Reason #1 to Panic: Your Readers Are Smarter Than You

Scary thought, ain’t it? Now granted, not all of them are going to be smarter (aka, better read on your subject than are you). But I guarantee there will be a lot of them. No matter how conscientious you are in your research about Roman sewer systems or stamp collecting, there will always be someone who knows something you don’t. And if that person happens to read your book, they may well call you out on your mistakes.

Read the full post on Helping Writers Become Authors

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9 Ways to Stop Your Novel from Stalling

How are your writing resolutions coming? To be perfectly honest mine are having some difficulty. Sometimes life… happens. The important thing is to get back to priorities. Tracey Barnes Priestley on Writer’s Digest talks about ways to get your momentum back.  Dated January 5, 2016.

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I would be willing to wager that most writers have made New Year’s resolutions regarding their writing practices. I know I have.

sign direction PROBLEMS-SOLUTIONS made in 3d software

Curious about this, I canvassed a few of my writer friends. Sure enough, many of them had frequently participated in this annual tradition that dates all the way back to the Babylonians. Each writer had faced January with a deep commitment and heartfelt enthusiasm for those resolutions. One promised herself she’d “finish the first draft” of her novel. Another told me she had written on her dry-erase board, in big, bold letters, “I will clean up the dialogue mess that’s drowning this book.” The least experienced of them, an as yet unpublished young man full of enthusiasm for his craft, swore he would “silence my inner critic and keep writing, no matter what.”

I followed up by asking them how successful they had been in keeping those resolutions. Unfortunately, all had experienced the same thing: disappointment. No matter how hard they tried, they had ultimately been unable to make good on what they had resolved to do.

I knew exactly what they were talking about. I gave up creating New Year’s resolutions about my writing years ago when I found myself at the end of yet another cold January, with nothing more to show for all of my efforts than an exercise in futility. I was left feeling a range of emotions, from guilty to downright silly.

It’s actually quite comical just how few of us keep our New Year’s resolutions. It’s estimated only 45 percent of the population even tries to resolve making changes in the New Year. Of these brave souls, a mere 8 percent are successful.

Yet I’ve wondered if writers might be even more inclined than the general public to approach the New Year with a list of things we want to change, accomplish or do differently. We seem ripe for this kind of experience. As creative thinkers, we face a unique set of circumstances when it comes to producing our work. Alone in whatever space we can manage for our writing, we pound away at the keyboard, with our thoughts, our characters, our struggles and the never-ending reality that we aspire to a tough, highly competitive profession. Why wouldn’t we try to capitalize on the fresh start, the clean slate that January offers us? Magical thinking is right up our alley!

Why Our Writing Can Stall

In my work as a life coach, I’ve come to believe that our writing can be derailed because of two fundamental processes. The first, naturally, is the very nature of our craft, the writing process itself—think plotting, character development, etc. Unfortunately, this intrinsic set of challenges dwells right alongside our individual writing processes—complete with procrastination, destructive thought patterns, negative experiences, ambiguous motivation, unrealistic expectations, etc. And we wonder why we can’t keep our writing resolutions.

By now you’re probably ready to chuck your computer out the window. Don’t! Think of these two processes as valuable tools. Once you understand how they may be driving your inability to meet your writing resolutions, you will be poised to utilize effective strategies that support you and your writing every step of the way.

What’s Holding You Back?

Let’s begin by identifying the warning signs that your writing may be about to stall out. Consider current or previous writing resolutions you failed to keep. Ask yourself if you have experienced any of the following: lack of initiative; inability to prioritize writing tasks; frequent distraction; failure to establish a consistent writing pace/routine; inner dialogue that is one negative message after another; finding yourself simply “too busy” to get anything done. This is hardly an exhaustive list. Reasons writers stall can be varied and unique. Your task is to be as exact—and as honest with yourself—as you can in identifying what gets in the way of your ability to make progress on your projects. Make a list.

Next, evaluate this list from the perspective of the work-in-progress itself. As an example, let’s use my writer friend’s resolution to finish her first draft.

Every time she sat down at her computer, this writer felt lost about where the story should go next, and unclear about the relationship between her two main characters. She found herself thinking, This is useless, and, It’s not a strong enough idea for an entire book—maybe I should ditch the entire thing.

First, she tried to address the problems in the work itself. She sought craft and technique help with her plot and eventually resolved some backstory problems that had delayed the action and confused things between her characters. But the problems with her own lack of clarity persisted. Now she was fairly certain that the problem was within her writing process.

Read the full post on Writer’s Digest

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