When my youngest kid was in middle school, he had knee problems. He couldn’t play football, but all that energy needed to go somewhere, so I signed him up for swim team. He went to one regional swim meet and I was impressed (confused? befuddled?) by the sheer number of kids who were rotating in and out of the water. His coaches reinforced the message that the kids weren’t racing each other as much as they were racing themselves. Winning gold was nice, but getting a personal best time was better.
That philosophy fits pretty well with an idea I’ve run across more than once in writing classes, often in terms of inspiration and motivation. We’re told that rather than waste time in jealousy or envy for another author’s success, each author needs to define success for themselves. For example, in a master class at last weekend’s Emerald City Writers’ Conference, Angela James started her presentation by asking each of us to describe what success looks like, and then leave a comment in the chat (we were on zoom) sharing some aspect of it.
People piped right up with comments like, “I’ve figured out what success looks like for three months, six months, and a year.” Which, okay then. LOL. I was happy for them – sincerely – yet there I was, still parsing the question.
See, if you ask me to list my goals for whatever time increment, I can do that, no problem. Weekly, monthly, one year, five year? I got this. (Well, five years might be a little vague.) And generally, I’m pretty good at accomplishing the goals I set for myself – or coming up with a damned good reason why I haven’t.
However, I’m not sure meeting goals and “success” are the same thing.
Clearly they’re related concepts. Checking things off a list feels good, whether it’s this week’s Trello to-do list or January’s goal to publish 4 books this year. And you know, according to the dictionary, that’s success.
So why am I balking? Why do I think success is bigger than just checking things off a list? Why don’t I feel like a success?
I think it’s because whenever I meet a goal, in the next breath I’m already planning the next one. Published 4 books this year? Good for me. What’s on deck for 2022? Pulled off a successful writing conference? Cool. When’s the next one?
I swear if I ever hit the New York Times bestseller list, I’ll immediately start figuring out how to raise the bar.
The thing about goals is they need to be concrete, measurable, and within my control. I’d argue that success is none of those things – unless it’s only about meeting goals. To me, it’s bigger than that. Success is satisfaction and happiness and pride, a complicated emotion that isn’t easily quantified.
I also think that defining success depends on where you focus your lens. The second bullet point in the dictionary definition is “the attainment of fame, wealth, or social status.”
And all of those values are relative.
Like, in my day(night) job, I’m a nurse practitioner in the NICU of a major university medical center with a national reputation. Does that make me famous? Probably not, although pretty much everyone in the world of neonatology has heard of my unit. (And if you google the name that’s on my ARNP license, you almost certainly won’t come up with hits about vampire romance. LOL)
Am I a success? Well, this gig is seriously my dream job, the reason I went back to school for a masters degree, and after working in a couple different places, I can honestly say its be the best utilization of the NNP role that I’ve found.
But it’s still a job, and I still have to pump myself up to go to work every night.
My husband and I have owned a house for over 20 years. To someone who’s worried about making rent every month, that might look like success. To me, it looks like unfinished projects and the garden needs work. I’m planning on taking early retirement at age 62, which might look like success, but it’ll only work if I write more books.
And….that might sound like a whole lot of bellyaching, like my cup’s half empty. It’s not. I’m very fortunate and very grateful. In thinking all this through, though, I have reached one conclusion.
If I’m not going to define writing success by meeting goals, there needs to be another way of looking at it. If I take away the goals – the yearly plan, the Trello to-do lists, the orange banners from Amazon – what’s left? The dictionary would say it’s wealth, and yeah, there’s the money, the number of books I sell minus what I spend on production and promotion.
But do I really write books to make money? Maybe a little, although I’m leery of picking a dollar amount to define success, because I can’t truly control how many books I sell. I can put together a good product and do my best to let buyers know it’s available, but I can’t make them buy.
So if I’m not successful because I meet my goals and it’s not about how much money I make, what’s left?
I think for me to be a successful author, it’s about the writing. It’s about being engaged in the process, the nitty-gritty draft and edit and read and learn and polish. It’s bringing characters to life and exploring the world through them, and it’s readers who tell me they love my work. It’s the alchemy of creativity and craft, organizing words into thoughts and recording them with care and attention so they’re telling the story’s truth.
I may not have an Olympic gold medal – or an NYT best seller – but I am writing. And by that measure, I’ve been a lot more successful than I realized.
Personally, the only thing I dislike more than critical feedback is unhelpful critical feedback.
No one writes a book on their own. I think where a lot of fledgling writers fail is they try to write a book without any outside help or support. Yes, the actual writing down of words is all on you, the writer, but getting to that stage, what happens after the first draft is done, how to get from rough draft to finished draft, shouldn’t be all on your own.
New writers are often terrified to let other people read their work. Whether it be insecurity about their talent or fear that someone might steal their work (electronic copyrights are an amazing thing in this day and age so if you’re part of the latter, let me put your mind at ease). And many new writers don’t realize, or maybe don’t want to admit, that even if you’re born with the gift of writing, no one writes well without at lease some practice if not some actual education in the craft. I, myself, have a BA in Creative Writing. And let me tell you: as a freshman in college I was CONVINCED I was an amazing writer and would coast through said major.
I needed that education. I needed those professors telling me that, while good, they could tell I was turning in first drafts of essays and stories. What’s the big deal about that? Well, good is not great and if they could tell something was a first draft, then that meant they saw room for improvement. Your first draft may be good, but it’s probably not yet great and it probably needs more than just your eyes to see where it can be improved.
I try to make sure I have at least two beta readers for a book, but if I can get three or four, that’s amazing. And, I think, it’s good to have readers at different life-stages and backgrounds so I can find out what resonated with who and what falls flat and if I get the same/similar notes from multiple readers, I know it’s something to pay attention to for good or bad.
Now, maybe you want to be a beta reader for someone, or you want to develop a critique partner relationship with another writer–if you can, do, it will make you a better writer–and you want to know how to be a good reader. Critical, helpful feedback.
Obviously all writers live for the good feedback. I look for the lols, the yeessssss!, the swoons, the love this!, the good image notes throughout a manuscript when I get it back from my readers. I love those comments. When I read the critique letters I first revel in the parts where they sing my praises and tell me what they loved about the book. We are needy things, we writers, and our sunshine are those compliments and reassurances. But we want the book to be great, not just good, so we need the meat, the real feedback.
If you’re going to help a writer with feedback you need to tell them what didn’t work for you while also explaining why. Did you find your attention waning during a particularly long chapter? Did you find yourself hoping an annoying character died even though they are supposed to be a hero? Did the dialogue fall flat for you because people don’t actually talk like that, or maybe because it was a little too realistic? Were there dropped plot threads because you picked up on something that seemed important in the beginning but then it never came back around? Did you get lost in the magic system because there are no rules?
These are all things that can help a writer who’s been staring at these pages and those tens of thousands of words for the past year and can’t see these issues. Want to know why you can’t see the issues in your book? Because you know the answers to these questions/holes/problems so your mind fills in those gaps when you reread. Just like you can’t see the typos or homonyms but they’re glaring to new eyes.
Now if you’re the one with the book getting the feedback, you need to be open to said feedback. Of course the notes are just the opinion of one person and you’re welcome to take or leave every note, but you cannot, under any circumstances be offended by the constructive criticism they offer. Hopefully they’re actually helpful and constructive and unless they just say your book sucked, you need to remember that, no matter how harsh, they’re trying to help you and they took time out just to read your work and give you feedback.
I offer professional manuscript critique services for people who don’t have a writer group and there are a lot of people who think they’re ready for the critical feedback only to realize they weren’t and they crumble a little bit when the critique letter isn’t just compliments and praise. Remember, the book is personal to you and only you at this stage.
So if you’re looking to write a book, be ready to start forming your own little writing village to help get it from opening sentence, to first draft, to final draft, to publication. Writing is a solitary craft but you don’t have to do it all alone.
Here’s the deal. I had a book release on September 4th and I’ll have another one September 23rd. I’m helping organize the Emerald City Writers’ Conference in October, and I’ve also stepped in as president of the Rainbow Romance Writers chapter of RWA. (And tbh, I believe in what the the organization is trying to do, but right now supporting RWA is exhausting.)
Also, also, I’m trying to plot the next book in the Soulmates series, and I’ve got research to do – like, two books to read, for starters – for The Pirate’s Vampire (sequel to The Vampire’s Pirate that released last week). And any day now Irene will be sending me the next scene for Benedictus, Book 3 in our Hours of the Night series.
That’s…a lot. (If you have read last month’s post, you might notice I haven’t mentioned the 1950s murder mystery I had on my list. I’ve decided to keep it on the back burner in the interest of honing in on my brand – vampires/paranormal – which is in itself a good subject for a blog post. Maybe I’ll do branding next month.)
You might be wondering how I’m keeping up with it all. Heh. I’m wondering that, myself. There are probably as many ways to stay organized as there are writers, you know? The way I see it, though, a successful approach has to include both the big picture and the daily work in a way that makes sense.
I’ve tried a couple different strategies that didn’t work particularly well. For years, every January I’d come up with a list of goals. I’d use Word or Excel and try to block out what I wanted to get done when.
And then I’d ignore those lists and spend most of the year jumping from thing to thing.
Then 3-ish years ago, I joined a Facebook group dedicated to the use of planners for authors. I bought a pretty, spiral bound notebook planner and actually used it, more or less. I liked that I could make weekly to-do lists, but it still didn’t give me a fluid way of connecting my annual goals to what was happening on a week-to-week basis.
I’m pretty sure that someone in that Facebook group first mentioned Trello. It’s a project management app, and while I probably use about 1/10th of its functionality, that 1/10th is exactly what I need. There are a kajillion different templates for all kinds of business and educational applications, but I use a series of very simple boards.
I don’t know why Trello works for me. Maybe it’s the pretty pictures or the way I can change things with a couple of clicks, but I’ve been more successful using it than any other organization tool I’ve come across. For sure, the phone app makes it easy for me to add to my to-do list when I remember something random and to check things off when I’m not at my laptop. Trello is the easiest way I’ve found to translate goals into action, and I’m pretty danged proud of what I’ve accomplished this year.
If you’ve got a cool organizational tool, leave me a comment. I’m still open to learning something new!
Two weeks ago at the Historical Novel Society conference, I participated in a brief lecture from my dear friend Kris Waldherr on how writers can use the tarot to help plan their books. It not only re-invigorated me in my study of tarot and inspired me to create my own deck, it reminded me I wrote a series of two articles about it a while back for Novelists’ Inc. that I have never shared here.
If you’re new to the tarot, head on over to my main blog for an introduction to the cards, how they work and what they mean, then come back to learn how to use them in your writing.
Before you read, you might like to find a quiet place where you can be alone with your thoughts and really think about what each card is trying tell you. Have a notebook and pen, or your computer handy so you can jot down ideas as they come to you. Some people choose to lay out a special cloth (usually a solid color) on which to place the cards because it helps focus the mind. If you are religious, you might want to ask your guardian angel or the muses or whatever god(s) you believe in to guide your reading, but that is totally optional.
To begin, take a deep breath and close your eyes. Think about your question. If you are using your reading to build out your plot from the beginning, you might ask a question like “What is the framework of this book?” or “Show me how this plot should progress.” If you’re trying the work through a block, think about it as specifically as you can, something like “what happens to X character next?” or “How does X get out of [name the jam you put them in].” If you are building a character you could start with “Show me X’s progression throughout the book.” Keep repeating your question in your mind over and over as you shuffle the deck. You’ll know when to stop. Sometimes you will feel a card get hot or cold or your fingers will tingle. Other times, you just know to stop. Sometimes nothing at all happens and you just get tired of shuffling. Trust your instincts; there are no wrong answer. Once you feel ready, draw your first card from the top of the deck.
Because of their unique symbolism, you can always do readings using only the major or minor arcana cards if you want to. But I have found that using both major and minor arcana (which is the standard practice) gives you a more complete picture. There are three basic types of spreads, which I’ll explain from the easiest to the most complex.
One Card Spreads
This involves drawing a single card and is the fastest and easiest, It allows you to be very focused in your question and answer, but it also provides you with the least amount of information because you don’t have the influence of surrounding cards. But if you are in a hurry or just need a prompt to get you going, one is all you need. Potential uses:
Getting to know your characters – Draw a card for each major character in your plot. This will tell you a lot about them, since we each have a card that best symbolizes who we are. (Mine is Strength.) This is best determined over time through multiple readings when the same card keeps showing up over and over again, but can also be done with a single reading.
I recently did this for a book I was plotting. It is biographical historical fiction set in WWII Poland and the card I drew was the Knight of Wands . This card symbolizes someone clever, with a strong sense of humor who is good with words and has sound instincts and a gift for seeing things others may have missed. This describes my heroine (who was a real person) to a tee. Because of this card, I learned what key aspects of her personality to focus on when writing.
Get to know the overall “vibe” of your book. A single card can also tell you about the theme(s) of your book. As I was writing this article, I pulled a card for my latest project, another biographical historical, this one set the colonial United States. My card was The Five of Wands I was immediately struck by the image, which shows five people fighting with staves, because while my book written in a single first-person POV, there are multiple competing timelines and storylines to keep straight, so much so that I needed to make a chart.
The meaning of the card is competition and being obsessed with material things or as the book that came with the deck puts it “keeping up with the Joneses.” That is certainly relevant because there are many men competing for the affection of my heroine. She also a very well-to-do woman who was known historically for her lavish parties and spending that, combined with her husband’s gambling, eventually drove them deep into debt. The card can also mean a clash of ideas and principles and hurting others by giving mixed messages. My main character is in love with her sisters’ husband and both are tempted to have an affair. Much of their relationship takes place via letter and because of both, they often wonder what the other really feels.
(While I was writing this, I accidently knocked the next card off the top of the deck. It was The Lovers which is what I was expecting the main card for the book to be because it is essentially a story of forbidden love. Always pay attention when cards fall out of the deck as you shuffle or otherwise make themselves known—it happens for a reason.
Find the answer to a plot problem or writer’s block. All you have to do here is ask what the problem is. Pay close attention to what the card symbolizes. It may tell you where you’ve gone wrong in plotting in another part of the book, directly answer your question, or even tell you about something in yourself that is causing the block (such as being overworked and needing to take a break).
Three Card Spreads
There are many variations on three-card spreads, but the most common is past-present-future, which can be used for both plots and characters.
If you write to a three-act structure, you could use this spread to learn about the themes of each act.
You could take each of your major characters and do a past-present-future spread to learn about their backstory, where they are when the book begins, and how they change as the novel progresses.
For character arcs, think about one card as being where the character is now, the second as where they want to be, and the third how to get there.
If you are experiencing a writing problem, you can have one card symbolize the nature of the problem, one the cause, and one the solution. Similarly, you can have the cards stand for what the character wants/what will help them, what is standing in their way, and how to overcome it.
We’ve all heard about MRUs (motivation reaction units), right? One card can be your character’s thought/feeling, one their reaction, and the third, what he or she is going to say or do in response.
If you are mulling over the relationship between characters you could have one card stand for each character and the third for their relationship. Or you could use one for what brought them together, one for what pulls them apart, and the third for the resolution. (This one is particularly good for romance novels and romantic plotlines.)
You could seriously go on forever with these. There’s a long list of three-card spreads online here.
The Celtic Cross Spread
This is the classic tarot spread, the one you’ve seen in every TV show and movie with a fortune teller and the one you will see if you go visit one in real life. This is because it is the most comprehensive. I’m going to explain it first, and then show you a few ways to use it.
The Celtic Cross spread involves 10 or 11 cards. Some people choose to designate one card that is set off to the side to symbolize the question or the person asking the question. If you choose to do this, you will draw that card first after you have finished shuffling the deck. Then draw the cards from the top of the deck and lay them out according to the pattern above.
Once you’ve done that. Take a look at the overall spread. Is your gut telling you anything? Does the spread feel inherently happy or sad, positive or negative? Does anything immediately jump out at you? It can take some time to develop the ability to get the “feel” for a spread, so don’t worry if you don’t come up with anything right away.
Next, take a look at each card individually. Write down your impressions of each one. I did a reading for my colonial American book while writing this using the question “show me what I need to know about X book” and I’ll give you my cards as well as an example.
My overall impression is that this is a positive reading with five major arcana cards (which is a lot) and no dominant suit (two swords and two pentacles, which neutralize each other’s negative and positive elements). It’s going to be an interesting reading.
Relationship to the Present Situation. Queen of Swords – An impressive, trailblazing woman of courage and intelligence who will not be held down by convention. This is my main character very clearly summed up.
Positive Forces in Your Favor. The Chariot – Triumph, balance, holding opposing views in equal tension. Enjoying life. This describes my character’s approach to life pretty well, though she’s more known for extravagance than balance.
Message from Your Higher Self – Queen of Pentacles – Female strength and success in business and with money. A caring woman concerned with the lives of those around her. Again, you have to trust me that this fits my character very well.
Subconscious/Underlying Themes/Emotional – The Priestess – Inspiration and advice from a woman who is wise and mature. Can also represent isolation. That last part is interesting to me because my heroine spends most of the book in another country than the rest of her family. Her best friend could easily be represented by the priestess and would provide calm to her boundless energy.
The Past – The Fool – Setting off on a journey unaware of an uncaring of the consequences; innocence and foolishness. My character married very young and regrets it almost immediately when her husband turns out not to be who she though he was (quite literally) and she falls in love with someone else, but can’t have him because she is already married.
Relationship with Others – The Two of Cups – The minor arcana card most like The Lovers. Represents relationships, attraction, engagement/marriage and emotional bonds. Perfect for describing the forbidden love she experiences for most of her life.
Psychological States/Forces That Can Affect the Outcome – The Six of Swords. Ugh, the swords. Movement, alignment of heart and mind, a declaration of love, focus and follow-through with unpredictable results. Funny that this one depicts a journey across water because my character travels back and forth between America and Europe a lot. Again, I see shades of the forbidden romance in this card, especially since it comes right between the Two of Cups and The Sun
Environment/Unseen Forces – The Sun – Triumph, bounty, enjoying life. It is interesting that the book that comes with this deck mentions “summer love” in connection to this card. If my two historical people ever actually consummated their affair, it would have been a particular summer while his wife was away.
Hopes and Fears – The Magician – A man of creativity, power and strong voice who is eloquent and charming. This could be my hero and describe what my heroine sees in him. This card can also mean someone who is manipulative and at times untrue, which applies to her fears about him just being a flirt and not really loving her since she is already married. (Which is something historians haven’t even figured out.)
Outcome – The King of Pentacles – A proud, self-assured young man of status and wealth, a supportive husband who recognizes the value of culture. This card could represent either her husband or her lover. Her husband is proud and wealthy, but he is not exactly supportive, while her lover is. I see this as the outcome she wants; her ideal man. Unfortunately, he does not exist and history does not bear out a happy ending for her or her lover. However, as a writer, I see this as an opportunity to really amp up the tragedy of the ending. Outcomes are even more powerful when the hero and heroine don’t get what they want because readers have been rooting for them the entire book and now will mourn with them as well.
Finally, look at the cards in groups of three or four. Do they affect each other or change the meaning of surrounding cards? Make notes of anything that notice. Again, it may take time to learn this part. In my example, as you can see from the explanations above, the first four cards agree with each other and strengthen one another in a description of my heroine. In the same way, cards six through nine all play on the same theme of forbidden love. Taken together, these influenced my interpretation of the Outcome card.
Of course, everything is subject to interpretation; I may read a spread totally differently than you do, which is why some people don’t put any stock in tarot readings. And that is fine. I’m only here to advise you on how you can use them as a tool in your writing; whether or not you believe they will work for you is a personal decision.
Once you get comfortable with your cards you can also make up your own spreads to fit your questions. They can be circular, triangle, any shape that works for what you need. You could even take the major archetypes and draw a card for each one or take your favorite plot arc or character arc tool (I’m a fan of Michael Hauge’s “Six Stage Plot Structure” and Larry Brooks’ Four Part Structure) and make up a spread to fit it. The sky is the limit.
I hope this series of articles has given you a new tool in your writing toolbox. If you are familiar with other systems of divination like runes, wisdom sticks, or even astrology or dowsing with a pendulum, you can employ those as well. They all tap into your subconscious mind in a similar manner. Best of luck!
When I wrote that last blog post I was at 90k words on the WIP. For the last couple of years that would have meant I was at a completed draft. I’d gotten very good at honing my craft so I could still set the scene but not be so flowery that I was pushing over the 100k mark. But not this beast. No, 90k and the end wasn’t quite in sight. But I was so happy to be writing and moving forward that I didn’t focus on that. I can always edit later.
My husband and I had a long weekend away planned for June 25th, so I told myself, I wanted to be done by the time we left. I didn’t call it a deadline because I was afraid I would jinx my progress. But in my mind, I knew it would be harder to enjoy our time away if the draft still wasn’t done. The point of the trip wasn’t a reward for this project, but there was no reason why it couldn’t double as one. That was also a weird change for me; I always did better with a deadline but now I was afraid of setting one.
So I kept opening fresh docs and writing from zero to whatever natural stopping point I hit for the day and copy and pasting those words into the main document.
Then, Monday morning I had an epiphany. I don’t know where it came from but it was a lightning bolt moment.
The story I’m writing is the idea of one movie from my childhood meets a movie from my teen years (yes, I’m being vague on purpose). Now, the love interest from the childhood movie is wildly problematic in this day and age (yeah, problematic back then too but… moving on!) and it had been nagging at me this whole time. How could I base a character on that character knowing he just wouldn’t survive (rightly), let alone sell, in today’s culture. But I still love his problematic face.
I love his problematic face because I understand why and how he was broken. I know his origin story so I can look past the problematic parts–of course that just makes my affection for him sound toxic, right? I know.
But having that information in my mind was helping me work out this problem. When we decide to write something new inspired by something we love, we’re trying to look at it from a different perspective. Maybe not make it better, or, hell, maybe we are trying to make it better.
And then, because I hadn’t been trying to force the story, the epiphany came. I knew why this character was broken. The reader needed to know too. The other character needed to know too. So often stories are frustrating for the reader or viewer because we know all that needs to happen to fix 90% of the problems is for the characters to talk to each other. But the writer avoids that at all costs. I decided to face that head on. Something so basic shouldn’t be a twist but it was and it worked. Because, just like my MC, the reader will likely be surprised too.
Then I couldn’t stop writing. The words just poured out of me. The character’s motivations, choices, the ending, it was all right there at my fingertips. It was bright and fully formed in my brain, I just had to get it out.
On June 17th, I crossed the 109k word and I wrote the ending.
I actually like the ending. I like the epiphany. I buy it. I think others will too.
Does it need work? Oh, oh yes. It needs so much work, I am sure. But I backed up my work and then I closed the document and I haven’t looked at it since. When I finished, I interrupted my husband at work and told him I finished before I told anyone else. And I cried. He hugged me and said, “See? You’re not broken.” I cried a little more.
Then we left the city and found fresh air, salt water, and ancient trees.
The words will come back to you. You may need to try a new method, you may need to try many new methods, you may have to try ones that didn’t work for you in the past, but the words will come to you again. If you keep trying. Keep adapting. The end of the book is in sight, you just have to keep going.
I love a good trope as much as the next girl. When two rivals forced by circumstance to work together show up at an inn, the room they’re given better have only one bed. Better yet, have them kiss to avoid being discovered by the enemy!
But often while reading, I want to be surprised. Don’t get me wrong–tropes and archetypes can be useful, and certainly play their roles in providing your reader with solid ground. But it can often be even more useful to flip these tropes on their heads. The technical term for this is subversion, and it’s one of the most powerful tools in your writing toolbox. Curious to know more? Keep reading for a few of my favorite techniques to use your audience’s expectations both for and against them in order to create a more compelling read.
Start with dialogue. Witty banter is a must for a snappy and fast-paced read. But it’s easy to let characters fall into a rhythm where your reader might almost be able to predict what they’re going to say next. If you feel your characters keep more or less saying the same thing over and over, try playing with that familiarity to make it unexpected. Oscar Wilde was a master of this–he’d start a line of dialogue with a familiar phrase, then take the second half of the line in a completely different direction for humorous effect. For example: “All the world’s a stage…but the play is badly cast.” He knows the audience expects something, and upends that expectation for a witty surprise.
Try this with your own writing. If a conversation feels stale, try having the characters say the exact opposite of what they mean, take a familiar phrase in an unfamiliar direction, or flip a familiar saying on its head (“Work is the curse of the drinking classes”)
Move on to worldbuilding.If you’re writing fantasy, it’s really easy to fall into the trap of building a familiar, wholly expected world that will surprise your reader not one jot (coughGameofThronescough). Even in other genres, world building often has a set of expectations that, if you’re not careful, you might find yourself emulating. The trick here is to be aware of the tropes, where they arise from, and why they’re common. For example, patriarchal societies are so common in fantasy writing because they’re based on Western medieval history, and the first half a century of fantasy writing was dominated by white males. When you use this expectation against your reader and subvert it, by putting women in power or even exploring a society where men are second-class citizens, your story will almost certainly be more compelling than if you follow what others have done before you.
So take a long hard look at the world you’ve built (even if it’s a world that looks very much like our own). How much of that world is knee-jerk fill-in-the-blank? And if it feels like a place you’ve maaaaybe been before, how can you subvert those expectations for a more original, compelling setting?
Next up? Characters. Want to write about the Chosen One? How about nah. Don’t get me wrong–these stories do and will continue to exist, and there’s value in that. But how often have you read a book where the Chosen One’s sidekick is the main character? Or better yet, the Chosen One’s opponent, who views the Chosen One as the villain? Now there’s a compelling story, amiright? Most craft books will tell you that all characters fall into certain archetypes–the Trickster, the Warrior, the Damsel, the King. And sure, that’s partially true. But the value here is knowing these archetypes, understanding their benefits, then learning when and where to turn them upside down. Go through your cast of characters and think about their stereotypes, then consider where you could subvert them.
Maybe your Damsel is really a Trickster, luring Warriors to their doom. Or perhaps your Warrior is actually a Damsel at heart, terrified behind their mask of strength. The harder you examine the archetypes you fall back on in creating characters, the more opportunities you have to explore their inverses!
And finally…plot. This one is arguably the hardest, especially when craft books like Save the Cat argue that all stories follow the same basic structures. Again, the trick here is to identify tropes before they happen…and then put your own twist on it. For example, everyone knows that no matter how hard characters try to avoid a prophecy, it always comes true–in fact, usually the things they do to avoid the prophecy make it come true! What if, instead, your characters want a prophecy to come true, but no matter what they do they can’t seem to trigger it? Instead of your villain trying to prevent your hero from achieving his goal, maybe they actually want the same exact thing?
Again, you want to examine the building blocks of your story and identify where you may be falling into old familiar ruts. Does the good guy win? Is the villain a mustache-twirling madman? When you find these elements, see whether you can upend them in such a way as to use your readers’ expectations against them, a surprise them with something fresh and unexpected.
Which are your favorite literary tropes? Or, better yet, which are your favorite tropes you love to see subverted? Share you thoughts in the comment section!
When I first started writing books I never outlined. I tried to outline my first book and found that, once it was outlined, I couldn’t get into the rhythm of writing the actual narration of the story.
It was incredibly frustrating and I felt like I couldn’t write. My lifelong dream of being a writer, going to college to learn how to be a writer, all my lofty goals would never be achieved because I couldn’t understand how to write.
Then I read a blog post by an author I loved at the time, she was a very prolific writer so I figured she knew what she was doing, and she said she wasn’t an outliner. She explained that she was a “pantser,” or “pantster” if you prefer, which meant she had an idea for the book and then just wrote freely, or “by the seat of her pants.” As she explained it, once she outlined a book it was as if her brain decided she’d already written the story and lost all sense of urgency to get the story down on paper. That was a lightbulb moment for me.
Maybe I wasn’t an outliner either. So I tried it her way. I was able to write my first three and half books that way. I wrote so much so fast, it was incredible. It really was like I was flying/writing by the seat of my pants. I’d found a key that fit my writer lock and I was so happy and relieved.
Then my hard drive became corrupted and ate tens of thousands of words from my fourth book. I was devastated to say the least. A magical IT guy recovered some of the lost work but I did have to rewrite a lot of what was lost and I had to try to remember what I’d written (I have multiple redundancies of back ups now–a hard lesson learned) and I started making notes, which turned into a very loose outline. And, thanks to those bullet point notes, I finished that book in record time.
So, when I started book five, I tried to outline again. And I found I was a new kind of writer. I started outlining books, long-form, by hand. But the incredible thing was, I didn’t lose my need to tell the story again. Instead I found it easier to leave off for a couple of days and come back and pick up where I left off. I didn’t need to remember all my cool ideas because they were all written down, waiting for me. And I learned I didn’t have to hold exactly to the outline, I could spin out and come back to it. Like an anchor in a storm.
Then, if you’ve been reading our blogs for a while, you know I burned out and took a break from writing. Then the pandemic happened and my life blew up, and I only started writing again very recently. And this book has been entirely different than all my other books.
I’ve worked with an outline with it and then, when I ran out of outline, I’ve pantsed some of it, and then inspiration struck and I got all these incredible plot twist ideas that made me realize I needed to change the whole book. That last bit meant that I needed to add whole scenes and characters to the book. Personally I’m the kind of writer who starts at the start and moves forward, in one document, until I reach the end, then I’ll go back and add/edit later. I never work backwards. But not with this book. Because I’ve had such a paradigm shift with the story of this book. I knew I needed to work through those missing scenes. I tried to just go forward, telling myself I’d fix the first half of the book later, but as soon as I wrote a line referencing the change in the story I knew I needed the ground work.
So I started opening new docs. As you can see I’ve written a few scenes like this.
It’s kind of strange. I feel a little like I’m making a quilt or puzzle pieces that I’m going to fit together later. I’m not even sure where these scenes will go, but I knew I needed them written so, as I write the second half of the book, I have memories of these scenes to build upon. I don’t even know what to call this style of writing.
I will say, I am not a huge fan of it. I like to watch my word counts jump when I’m done for the day and this makes it feel like I’m not doing as much work. But I am. I know I am. One pro is that I can see I’ve hit my daily count much easier than doing the math . Another pro is that it does fee like I’m hitting small milestones so I can feel al sense of accomplishment that way. And I know, once I’m satisfied I’ve written all the missing scenes to pull the book together, when I got to copy and paste those scenes into the main document I’ll feel a huge amount of gratification when I watch my wordcount jump over 5 figures.
It’s just different.
And this far into the game it’s kinda weird to realize you can change your writing style again. So, if you’re new to writing, or old hat but finding you’re struggling to figure out how to do this thing called writing, maybe you just haven’t found your style yet. Sometimes a book is first person, sometimes it’s better in third. Sometimes you need an in-depth, thorough outline, sometimes you just need to write a scene that’s burst into your mind without knowing where it’s going.
Just like a story can evolve as the characters move through the plot, you as a writer can evolve as you get further into your career. You just have to figure out what is going to work for you at this point in your career and learn to adapt if one way of doing things isn’t working for you. All that matters is figuring out what gets the story written. Outline or pantsing. Morning sessions or nighttime. Small goals every day, or big wordcounts once or twice a week. There is no one way to write a book and you can learn from other writers so you don’t lose hope.
You worked so hard to finish your draft. Maybe you stayed up late, or you woke up early (you weird early bird you). Maybe you struggled to stick to your outline, or had to rewrite a hard scene eight times, or realized you introduced a character in the first half who just…disappeared (we’ve all been there). But you finally did it. You finished your book.
Sometimes, after spending months and months creating a book’s world, its characters, and its plot, I feel almost at sea. I never know quite what to do with myself. Do I keep tinkering at the chapters I know aren’t perfect? Do I let my friends read it? Do I print it out, put it in a shoebox, and bury it out back in the dead of night, never to be unearthed?
If you’re anything like me, you’ll be wondering what to do after finishing a book too. Well, I’m here to help. Here are my pro tips for what to do after you finish a book, plus a few suggestions of what not to do.
DO let yourself be done. I realize how tempting it is to keep fussing with your draft even after you’ve written The End. There’s so much work still to be done! So many imperfections to correct! But it’s actually really important to hang a bell on the amazing thing you’ve just accomplished. Whether it’s your first or your fortieth, finishing a book is a big deal. And even if you know you’re going to return to it at some point, for this moment, it’s time to step away. Which leads me to my second point…
DO let your book rest. Not only do you need a break after writing your book, your book needs one too. Chances are, after spending so long focused on your draft, you’ve lost all perspective on it. When I finish a book, you can often hear me say, “This is either the best thing I’ve ever written or the worst.” But usually, after taking two weeks or a month away from it, I realize it’s neither. It’s usually half-way decent, but needs work. And that time away is necessary for me to see my work with fresh eyes.
DON’T send it to agents/editors/publishers right away. Don’t send a first draft to anyone in the publishing industry. Ever. I know it’s tempting to immediately share the thing you worked so hard on, but sending it out before it’s ready could damage its chances of being published, or even burn a bridge in the publishing industry. There’s still work to be done.
DO focus on yourself. Writing a book can be mentally and physically taxing. When I finally surface after finishing a draft, I’m usually a bit dazed, a bit burnt out, and often my wrists or my back are aching. Self-care is a necessity. Instead of jumping right into revisions, or starting a new project, try to take a little time to refill the well by reading, watching TV/movies, listening to music, or doing an art project that has nothing to do with writing. And remember that the healthier your body is, the healthier your mind is. Try going for a long walk, doing some yoga, or visiting your chiropractor.
DON’T come back to it until you’re ready. Avoid setting yourself a hard deadline for when you’re going to start edits (unless you’re actually on deadline, of course), like two weeks, or a month. Listen to your muse, who’ll let you know when your well is refilled and you’re ready to work again. I know I’m ready to come back to a draft when I start dreaming about it again. When the characters voices start chiming in my ears, and my fingers itch to pick up a pen. Sometimes that’s a few days. Sometimes it’s months. Some stories I never return to.
DO reread it. Once you feel ready to get back to it, the first step is reading what you’ve written. Now that you’ve gained some distance and perspective, a read-through will help you identify what’s good, what’s meh, and what definitely needs to be changed. Rather than diving in willy nilly, reading your work from start to finish should help you plan out your revision.
DO make big picture changes first. It may be tempting to obsess over grammar and word choice. And those are important! But chances are there are big, structural changes that need your attention first. And it sucks to spend hours perfecting a scene’s word choice only to realize you need to delete it or vastly rewrite it. Identify which scenes need to be moved, changed, or deleted entirely before nit-picking. Same goes for character arcs, world-building, and plot.
DO get some help. Finding people who can read your work and give you useful, honest feedback is invaluable. It’s not too hard to find beta-readers and/or critique partners, once you know where to look. Anyone whose opinion you trust is a good start, but I’d avoid parents, siblings, or good friends, since they probably love you too much to be particularly honest. Do you have a local writer’s group? Author acquaintances on the internet? Look for like-minded folks who are eager to read your work!
That’s it! Congratulations on finishing your book, and remember to pat yourself on the back–what a huge accomplishment!
As artists we like to think our work is important. It doesn’t matter what your media is, you want your art to reach people, bring them some joy, provide some entertainment, no matter what that might mean for the consumer. I like to think of art as an escape and I do try to provide that when I’m writing. Probably why I like to write Fantasy novels.
As I’ve mentioned, my family went through some tough times in the last few months, beyond the pandemic. But even before that happened to us, we were dealing with the pandemic just like all of you. Trapped at home, feeling weird doing normal things like going to the grocery store or getting take-away, letting the days run into each other. And of course, a small bummer was that all of our shows were out of production for months, so we didn’t even have that as an escape.
Then the shows came back! Places were able to let production companies get back to work and we were all promised new content! Huzzah!
But, oof. What a disappointment so many shows were! What I couldn’t understand was how so many–SO MANY–shows decided to lean into pandemic and incorporate it into their stories. Like. WHY?
I know at the beginning of the pandemic it was still kind of novel; plenty of us were relatively untouched by it and sales of apocalyptic and post-apocalyptic books spiked. People were watching those kinds of shows and movies. It was like hair of the dog, right? Let’s see how much worse it could be instead of just realizing you’ve been wearing the same pair of pajama pants for three days and have probably downloaded one too many food delivery apps for that free first delivery fee. I understood it. Hell, I even did a live-stream story time of World of Ash for my followers.
But after eight months of it, I was definitely past that point and ready for a real escape. I wanted some levity, some feel-good, some normalcy in my entertainment. But every show had the damn pandemic in it. Or fucked up politics (I mean, we definitely had plenty of that too, right?) Even sitcoms, which should be a completely safe space for some stupid, predictable humor, had the pandemic in them. I mean. Shows that never mention real current events or who the real-life president still had the pandemic in their storylines. WHY? (I will make an allowance for Prodigal Son–they mention it, but skipped it. Like, the characters went through “quarantine” but we didn’t have to go through it with them. That wasn’t so bad.)
Then my world blew up personally and, when I had some precious time here and there to sit for a minute and check out, I was desperate for real, light, easy escape. I didn’t want to be reminded how ugly the world was. I didn’t want to watch someone have their world taken away from them. I didn’t want to see what I could see out my window on my screen. That’s not an escape. That’s rubbing salt in the wound.
I don’t actually remember a time where I needed something like books or TV to distract me from actual disaster. The last few months of 2020 were the hardest months of my life, so it was the first time where I looked at my sources of entertainment for some help checking out, even if just for an hour here or there. When I say I want my books to provide readers a little escape, I’m thinking of escape from every-day life. Something different. Something fun and dangerous but safe.
I’ve never thought about how someone might be going through the darkest part of their life and my books helping them escape, even if just for an hour or two. Now. I have had readers reach out to me with notes about how my books did just that for them and it really touched me. I don’t think about that when I’m writing because, let’s face it, that’s a lot of fucking pressure to put on yourself. So I just write the story I’m gonna write and hope someone enjoys it. If it turns out it helps them through a dark or terrible time, I am so grateful.
And I needed that myself. I couldn’t really read. That seemed to ask too much of my brain. I was lucky and fellow Scribe, Lyra, had a WIP that she wanted beta’d and it turned out to be a light-hearted escape with drama I could mentally manage. It was a nice escape into a part of the country I’d never seen and there were no pandemics or politics. But TV? Movies? Nope. So, at the suggestion of my dear mom, I tried Psych.
So light-hearted. So funny. So vanilla but entertaining. A buddy comedy that’s not really about cops. It’s even set in the next county over from me. Yes, there’s plenty of murder in it, but it’s cozy murder mysteries, not blood and gore and terror. It was exactly what we needed–true escapism. Even the drama aspects weren’t too much to manage. We could watch an episode or two and feel our anxiety levels evening out. We could turn our brains off and unwind from terrible days so we could go to bed relaxed.
Realizing how little in the way we have of these kinds of shows anymore, Psych, The Librarians, Veronica Mars, Buffy, is disappointing. I don’t mean you can’t stream these older shows, I mean we don’t have anything like it now and these shows keep getting cancelled, even if they’re popular–good sitcoms are also axed left and right while trite and annoying ones are allowed to be renewed again and again. There is a glut of drama out there, for sure. But we also need shows that don’t ask too much of us. Light romance, extremely light drama, enough gentle comedy, all neatly tied up in a 44-48 minute bow.
There were times where I worried my Matilda Kavanagh Novels were too basic witch, too light, too quick. But I wrote them because they were fun for me. I enjoyed the episodic nature of the series–each book can be read on its own but there are over-arching stories tying them together as a series. I liked that the characters didn’t ask too much of me. Yes, there are some darker themes and Big Bads, but there’s a lot of fun and silliness in them too. I needed that and maybe, sometimes, you do too.
Art as escapism is as important, I think, as art as a statement. I hope, when we get on the other side of this, we get back to some fun escapism again. Not everything has to be high brow drama or slap-stick comedy. There’s some middle ground and I hope more TV and Movie writers and producers remember that.
I will say, since we’ve gotten to the other side of our ordeal, we have been able to give other, newer shows a chance. If you haven’t watched Bridgerton, I don’t know why. And I’m giving big kudos to Resident Alien because Allan Tyduk never disappoints and it is really, really funny.
And just one last comment. Can the new trope of the dead wife as the set up for the widower’s story please stop? Legit, there are at least 3 “sitcoms” with that plot on right now.
Anyway. What shows, movies, or books are your go-tos when you need an escape? Are there any out there that got you through a tough time?
As I was casually lurking on Twitter the other day, I came across this Tweet which, to be honest, took me aback a bit.
Now, YA–otherwise known as Young Adult Fiction–is a genre that’s near and dear to my heart, as a writer but especially as a reader. I’ve been reading young adult books since about the time I was able to choose my own reading material, which was whenever my parents gave their avid reader middle child (me) free run of our local library. With a few exceptions, my parents really didn’t police my reading choices, which meant I was drawing from a pretty broad pool of books from a pretty young age. But my favorite section was always the YA shelves, stocked with books the grown-ups in my life had never heard of before, books that felt like they were just for me, books full of magic and adventure. Garth Nix, Lloyd Alexander, Sherwood Smith, Tamora Pierce–I devoured these old-school YA novels like they were going out of style.
In middle school, things changed. A little book called Harry Potter started getting popular, and suddenly, everyone knew about my genre. Don’t get me wrong–I did and do love the Harry Potter books, and loved that soon after they became popular, the bookstore and library bookshelves were packed with new and more varied YA options. Throughout high school, I continued to read everything I could get my hands on, but YA remained my staple. I remember one douche-canoe who sat near me on the bus used to make fun of my reading choices, sneering at the YA covers and flashing his copies of Dostoyevsky at me (eye-roll). But that didn’t stop me from reading.
By the time the next mega-YA-phenomenon rolled around (Twilight) I was in early college. I actually picked the book up off my little sister’s library stack just months before everyone else lost their mind’s over it. Not too longer after that, The Hunger Games trilogy hit the stratosphere, and I was hooked on those too. Around this time in my early twenties, I had technically “aged out” of the target YA demographic. But honestly, the YA genre as a whole was just getting interesting! New ideas, new books, new authors. And I’d started noodling around with the idea of writing my own YA novel. I wasn’t going to stop reading YA just because I was “too old” for it.
All of which is to say, it’s honestly never occurred to me that there could be a designated age when a person ought to “stop reading YA fiction,” as the original tweet suggests. But as I started to read all the replies to the original tweet, I really started to think about it.
Here’s the thing–I think people should read what they want, when they want. Comic books, pulp fiction, Dostoyevsky, YA fantasy, milk cartons. But that said, I do think as readers we have to cultivate an awareness of who the books we read are intended for, especially when those books are intended for children or young adults. Those frames of reference must inform how we interact with the media we consume. When I was nine, I knew that even though I enjoyed reading about the adventures of teenage heroes, some of their conflicts and interactions were more mature than the ones I dealt with in my own life. Similarly, although I read YA throughout my twenties and now into my thirties, I got to a point where I couldn’t personally relate anymore to all the things the sixteen- and seventeen-year-old characters were going through–been there, done that. That didn’t mean I couldn’t still enjoy those books or those narratives.
Unfortunately, I’m not sure everyone has this awareness. Speaking from experience, many of the reviews for my own YA fantasy novel included a sentence that went something like this: “I would have liked the book better if the main character was more mature and made better decisions.” Ummm, she’s seventeen. Do you know many seventeen year olds capable of acting maturely in every circumstance and making all the right decisions in a high-stress environment? *face palm*
So no, I don’t think there’s an age when a person should no longer read young adult books. I do, however, think that once someone passes the age of both the characters in the books and the intended audience for which the book was written, they have to take a step back and ask themselves, “was this written for me?” Because chances are, once they’re out of the 13-18 age range of most YA books, they may start to relate less to some of the problems, choices, and actions of the main characters. And that’s fine! We don’t have to agree with every choice a character makes to still find their stories compelling and worthwhile. But we do have to stop assuming that YA books will cater to adult tastes when they’re intended for teens.
There’s so much to love about YA fiction. These coming-of-age stories remind us of a time when our experiences were most likely to change us; a time when everything felt newly-minted and shiny; when all our firsts were still ahead of us. I think, ultimately, they are stories of hope. And that’s something I hope none of us ever grow out of.
Do you think there’s an “expiration date” for reading YA fiction? Leave your thoughts in the comment section below!