Kristen Lamb

Author, Blogger, Social Media Jedi

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Posts Tagged: fiction

Inspired author biting crumpled paper

Today, Alex Limberg is with us again, and he is talking about one of the most important and tricky issues in writing: Endurance. It doesn’t matter how well we write, how pretty the prose or witty the dialogue. WE MUST FINISH.

No half-finished brilliant manuscript ever became a runaway best-seller but a lot of finished “meh” ones have.

Alex has some very effective tactics and practical examples to help you out.

Just look at his list and pick out the ones that work for you. And if you want to see how good your story really is or what it might be missing, definitely check out his free checklist of “44 Key Questions” to make your story awesome. Post starts in 3… 2… 1… 0:

***

Have you ever written an entire novel? If so, then you know that it takes a lot of stamina.

I’m not just talking about the really long ones, the brick-like ones you could kill a chicken with. Sometimes it seems like a mystery how Ayn Rand could write something like Atlas Shrugged or how Tolkien could ever complete Lord of the Rings.

I mean, did they never have to do the laundry or cut their toe nails, did life never get in the way?

Did they never get utterly frustrated by the sheer amount of pages they had to write – and by the fact they had to write them well?

I’m sure all of this did happen, but here is the important part: They didn’t let it stop them. They never ever quit. And neither should you.

Luckily, there are a couple of excellent tactics to help you if you are stuck. Here is what you can do if your writing project takes ages to come together and is starting to wear you down:

1. Maybe your story needs change

If something is fundamentally wrong with your story, no psychological recharging will help you; you would just end up frustrated anyways. Instead, your first step is to check if some elements of your novel want to be shuffled around.

Maybe there is one character too many or too few, or one of the figures is making decisions that don’t correspond to her personality.

Maybe the plot needs to be tightened or it needs more logic.

Maybe the point of view is off.

Take notes, think about it, and if you get the impression that there is something wrong with your story, try a different route.

To help you examine any wrong turns your story might have taken, you can download my free goodie about “44 Key Questions” to check your story. Use it to test your story for anything that could possibly go wrong.

2. Take a break

This one seems obvious, but you might not even see it if you are totally caught up in your novel: Leave your project alone for a couple of days or weeks and do things you normally wouldn’t do.

Take a hike, play the piano, do a bartending course; carve a sculpture, visit an origami exhibition, search for Bigfoot. After having your mind circle around your story all the time, any physical activity or mental change will feel refreshing.

Your body and mind will reenergize and open up to new ways of feeling and thinking.

bigfoot-2

3. Don’t expect too much

When we want something really bad, we often put way too much pressure on ourselves. Then it can happen that we freeze in front of the task like a mouse in the face of a snake.

So take yourself aside for a word of clear, constructive self-talk: Reassure yourself it will be okay. No word you put on screen or paper is final. Nobody will ever see a single letter before you decide to release it into the world.

Finally, even the best writers sometimes produce garbage. Seriously, it’s all good. It’s just a learning process, like everything else in life.

But what do I hear from you? That it’s easier said than done?

True, so here is a practical exercise: Write one page of fiction, and on purpose make it as bad as you possibly can. Is it really cringeworthy? Great, you have succeeded. Hopefully you will be less outcome-dependent now.

4. Put yourself in a creative state of mind

What exactly is a “creative state of mind”?

Your creative self is celebrating its most reckless party when you feel both relaxed and playful at the same time. Again, when you get stuck with your novel, chances are you are worrying too much about getting it right.

Start by taking the pressure off yourself like outlined above. Then go play with your kids and their building blocks to bring out your playful side. If you don’t have kids, play a round of poker, tic-tac-toe or Dungeons & Dragons. Start a pillow fight. The more silly, childish and senseless you can get, the better… it will open up your carefree, curious side again. Creative people can learn a lot from how children treat the world.

Finally, start playing around with the elements of your story, just for the sake of it. Try absurd scenarios. How would that confession scene play out at a circus amongst clowns and dancing bears?

Don’t expect any results, but maybe fooling around will spark your passion for your story again. You might even come across new ideas about how to move it further along.

creative-state-of-mind

5. Reward yourself

It’s also important to nurture your creative motor. Assign yourself little rewards in advance for reaching your writing goals.

Pick something you are really looking forward to. It might be a night at the movies for a chapter you finish, or a new iPad for finishing half of your novel.

6. Visualize your success

If you undergo the long, winding process of writing a book, chances are you feel a deep desire within yourself to see the finished result.

So use your desire and visualize that very satisfying outcome: What would it feel like to look at your finished novel, to know that you finally made it happen? How awesome would it be to read the best chapter aloud to your friends, how exciting to send it out to a couple of agents and publishers and see what happens?

Visualize these scenes of sweet victory. They will give you that extra boost you need to get your project done. And if you need a practical exercise, write a letter to yourself and describe what success will look like.

Also, what fascinated you so much about your story you had to start to write it in the first place? Was it a character, an idea, a scene? Remind yourself of what you found fascinating when you started your long and winding novel. Imagine that character or idea vividly before your mind’s eye.

These are a couple of tactics and tricks I found useful for my own writing. See which one of them works best for you. After all, everything you see here is just words on a screen; apply them, live them, finally stick with what really helps you and disregard the rest.

Soon enough your creative juices will be flowing again, and when you have finished your story, you will look at it and be immensely proud of yourself: You have gotten up, overcome all the obstacles and finally achieved your goal – congratulations, this is what makes you a real writer!

AL, Photo 3

Alex Limberg is blogging on ‘Ride the Pen’ to help you boost your fiction writing. His blog dissects famous authors (works, not bodies). Download his free checklist of “44 Key Questions” to quickly detect any problems in your story and keep yourself motivated. Alex has worked as a copywriter and lived in Vienna, Los Angeles, Madrid and Hamburg.

So far, so good. Now we just need to do it.

Kristen here again. I have a couple of questions for you: Which techniques work best when you feel fatigue? What do we need to add to the list? Is it hard to be creative when everyday life is upon you? Does wearing a banana peel for a hat make you more creative? Could this fashion statement also be your reward for a finished novel?

Remember that comments for guests get double love from me for my contest!

I love hearing from you!

And to prove it and show my love, for the month of DECEMBER, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly.

I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

November’s winner of my 20 page critique is Nancy Segovia. THANK YOU for being such an awesome supporter of this blog and its guests. Please send your 5000 word Word document (double-spaced, Times New Roman Font 12 point) to kristen@wana intl dot com.

Check out the Upcoming Classes

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All you need is an internet connection!

NEW!!!! IDEAL FOR CHRISTMAS!!!!

Branding Master’s Class Series with Kristen Lamb THREE social media classes, ONE low price. Only $99. It is literally getting one class for FREE!!!! 

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Individual Classes with MOI!

Pitch Perfect—How to Write a Query Letter & Synopsis that SELLS January 6th

Plotting for Dummies January 7th, 2017

When your Name Alone Can SELL—Branding for Authors January 13th, 2017

Social Media for Authors January 14th, 2017

NEW CLASS!!!! The Art of Character January 27th, 2017

 

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

Dog Body Language
Image by Gopal 1035

Today regular guest writer Alex Limberg is back with a post that will make any of your dialogue scenes sound so much smoother. His piece is about body language. Raise your eyebrows and drop your chin in delight, because Alex is about to help you get under your readers’ skin with your dialogue. Also, you should definitely check out his free checklist about “44 Key Questions” to make your story awesome. Now clap your hands: 3… 2… 1… here we go:

***

“Crossing my bridge on your flying rhinoceros? You better reconsider that,” the troll said and raised his fist.

When you are reading the sentence above, you know immediately what the situation is about: The troll is threatening the other person (and a flying rhino is coming your way). And the reason you know exactly what’s up is, you guessed it, the fitting description of body language. Body language is added in just four tiny words. But those four words add a lot of depth to the scene.

The physical snippet makes your reader visualize the scene; it puts the graphic image of a big, green, threatening troll fist in his head.

It also brings some nice variation to your dialogue; it’s more interesting than a plain, boring dialogue tag (“the troll said” or “the troll shouted.”)

It introduces character and overboiling emotion – you know it’s better not to tangle with the green guy.

And finally, it adds some physicality to your story, as opposed to just “blah, blah, blah” dialogue and scenic description. It makes for well-balanced speech.

Troll Warning
Image by Gil

All of this is the power of using body language.

Here is a short Body Language 101 that will help you with “puppeteering” your characters’ bodies:

1. Use Body Language Only From Time to Time

If you use body language too much, it will become annoying and obvious and lose its subtle qualities. Instead, only describe characters’ facial expressions and postures from time to time. Make them smoothly blend in with the dialogue and the other scenic description.

Sneak your body expressions into the mix unobtrusively. Remember that you have several other options to “tag” and break up your dialogue lines:

  • You could use a dialogue tag (“Let’s go to the party then!” Sandra squealed.)
  • You could describe what the characters are doing (“Let’s go to the party then.” Sandra held the invitation out to him.)
  • You could describe what else is happening in the scene (“Let’s go to the party then!” Suddenly the doorbell rang.)
  • You could just leave the dialogue line standing alone (“Let’s go to the party then.”)
  • You could describe a facial expression, posture or movement of the character who is speaking and put it directly before or after his dialogue line, to let the reader connect the dots himself (“Let’s go to the party then.” Sandra’s face lit up.)

Try to vary these options, so none of them gains the upper hand and becomes annoying. That way you will get a well-balanced and structured scene that pays equal attention to dialogue, characters and descriptions.

When you insert body language, always do it in passing and don’t give any extra weight to what you describe.

2. No Explanation, Just Body Language

If you want to look really stupid, you could write like this:

“So surely you can tell me where you were on the evening of the twenty-second of October?” George asked with eyes narrowed to slits, because he felt very suspicious about Blake’s story.

This example does both, showing and telling. That’s one too many, and the too many one is the telling part! Cut out “because he felt very suspicious about Blake’s story.

When you write like this, you also take your reader for stupid. Let her connect the dots herself – if she has followed the story, she will know why Georg’s eyes are pressed to slits.

Try it like this:

“So surely you can tell me where you were on the evening of the twenty-second of October?” George asked, his eyes narrowed to slits.

That’s much better, now we don’t even have to go inside George’s head artificially, we can just describe objectively what the reader sees.

Whenever possible, don’t name the feeling, but just show the body language. And definitely never put both of them (body language and description of feeling) together in the same sentence.

Showing, not telling is sometimes not easy to do when you are caught up in the writing process. That’s why I created my free checklist about “44 Test Questions” to make your story great. It’s a comprehensive, no-holds-barred list about what I learned makes a good story, and you can download it right away.

Body Language 1

3. Have a Very Clear Idea of What Your Character Is Feeling

Take a look at this ambitious description of body language:

“Randy held one hand in his other behind his back, then suddenly stroked his throat while he was leaning towards Linda.”

What’s happening here? Nobody knows, Randy’s behavior is too much. As far as we are aware, it doesn’t make any sense. It seems like the writer pays attention to the undertones so much, that in the end he is not really saying anything.

Don’t write so cryptically that nobody can understand where your character is coming from. A simple description of one piece of body language at a time is absolutely enough. You, the author, always have to be clear about what your characters are feeling. And their body language has to match those feelings.

4. Follow Your Intuition When Describing Body Language

But where can you take an accurate description for flattery or envy from?

Your best bet is to take it from yourself. Imagine you feel flattered by an enormous compliment, like the best compliment ever. What expressions would your face, your arms, your body be making? Totally immerse yourself in the feeling like a good actor, and see which body expression fits.

Remember the last time you felt really envious about somebody? Use that memory to immerse yourself in the feeling for a second and ask yourself how your body would react.

Reading a book about body language is also an excellent idea. The Definitive Book of Body Language by Allan and Barbara Pease is a very systematic and comprehensive guide to everything you ever wanted to know about body language. I recommend it whole-heartedly.

Acting 1

5. Several Types of Body Language You Can Use

Our bodies have several ways of giving our secrets away. Here are some examples and a bit of inspiration on what’s possible:

  • Facial expressions: The human face is an endless source of expressions. Think of raised eyebrows, tightly pressed lips, blown up cheeks, wrinkled noses, wide eyes, frowned brows, poked out tongues, widened nostrils… most feelings show through several features
  • Body postures: Crossed arms, legs wide apart, foot put forward, leaned back upper body, spread elbows, locked ankles, body pointing away, tilted head… all of these have something very distinctive to say
  • Body movements: Adjusting tie, nibbling on temple of glasses, whipping foot, raising hand with palm toward opposite, flicking the hair, putting hands in pockets, grabbing the other’s upper arm, scratching one’s nose… do you know what all of these mean?

Equipped with all of this knowledge, you now have an extremely elegant and effective way to describe what’s really happening under the surface of your scene. You can now go fill your characters with overflowing emotions and life.

Once you manage to describe how their feelings subconsciously pour out of them, your figures will automatically take on a life of their own and feel like they were standing next to you in your living room. And your reader won’t be able to keep from loving or loathing them whole-heartedly.

Photo, Alex Limberg

Alex Limberg is blogging on ‘Ride the Pen’ to help you boost your fiction writing. His blog dissects famous authors (works, not bodies). Polish your dialogue, plot, characters and much more to greatness with his free checklist about “44 Key Questions” to test your story. Shakespeare is jealous. Alex has worked as a copywriter and in the movie industry. He has lived in Vienna, Los Angeles, Madrid and Hamburg.

Thumbs up, Alex!

It’s Kristen again, and I’m back to ask you: Are you guilty of completely neglecting body language in your stories? Do you have a favorite body part or movement to describe? Aren’t knees so much cooler than elbows? Do you ever forget to jump up and down when you are happy?

Remember that comments for guests get double love from me for my contest!

I love hearing from you!

To prove it and show my love, for the month of SEPTEMBER, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

Check out the other NEW classes below! Including How to Write the Dreaded Synopsis/Query Letter! 

All W.A.N.A. classes are on-line and all you need is an internet connection. Recordings are included in the class price.

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NEW CLASS!

Pitch Perfect—How to Write a Query Letter & Synopsis that SELLS

You’ve written a novel and now are faced with the two most terrifying challenges all writers face. The query and the synopsis.

Query letters can be daunting. How do you sell yourself? Your work? How can you stand apart without including glitter in your letter?

***NOTE: DO NOT PUT GLITTER IN YOUR QUERY.

Good question. We will cover that and more!

But sometimes the query is not enough.

Most writers would rather cut their wrists with a spork than be forced to write the dreaded…synopsis. Yet, this is a valuable skills all writers should learn.

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Blogging for Authors

September 17th

Blogging is one of the most powerful forms of social media. Twitter could flitter and Facebook could fold but the blog will remain so long as we have an Internet. The blog has been going strong since the 90s and it’s one of the best ways to establish a brand and then harness the power of that brand to drive book sales.

The best part is, done properly, a blog plays to a writer’s strengths. Writers write.

The problem is too many writers don’t approach a blog properly and make all kinds of mistakes that eventually lead to blog abandonment. Many authors fail to understand that bloggers and author bloggers are two completely different creatures.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

 

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Today is a repost because of a death in the family last week. But you know what? Life moves on.  I chose this post because we all need a good kick in the ass now and again, even ME.

It was a FUN post and a good way to get my moxie back….because seriously my moxie got kicked in the face last week. I am sure NONE of you have been there. Feeling like a failure, like nothing you do matters?

Well, get over it. We are going to have a hell raising Monday!

Last fall I read Kate White’s I Shouldn’t Be Telling You This: Success Secrets Every Gutsy Girl Should Know. There are bad books, okay books, good books and great books. But there is another kind of book and it’s the rarest.

The game-changer.

White has a witty, sassy style. She is seamlessly intelligent and down-to-earth in her fiction. And guess what? Her nonfiction delivers more of the same.

Back to our topic of being too damn nice for our own good.

Good Girls Don’t Become Best-Sellers

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Before you throw digital knives at me, please hear me out. I’ve been doing this social media thing since MySpace was big. I have three books under my belt, well over 1000 blogs, and thousands of hours of teaching. So I’ve been around long enough to at least make a very unscientific study of human behavior and I can tell you that men almost always have the advantage in the new publishing paradigm. They have the edge for the same reasons they gain the advantage in the workplace.

Those lessons our mothers and grandmothers passed on could be the very behaviors that have us standing in our own way. I feel this is particularly true for the writing profession since it is largely comprised of women over 30.

Women over 30 have lived long enough to see this world change more than it ever has in the entire course of human history. Who would have imagined we’d say things like, “I want a picture. Hold on while I get my phone!”

Many of the writers I work with believe they are struggling with branding because of the technology, but I don’t agree. I think women are finally in a position where we must choose. It is live or die. If we listen to our rearing we will lose and lose BIG.

We don’t like the new paradigm because we can’t hide behind an agent and wait meekly for outside approval. The new publishing paradigm lands us smack dab in the place we are most terrified.

What I am going to address can help the men (the “Nice Guys”) but since last I checked I am NOT a guy? Give your thoughts/perspectives in the comments *smooch*

But us older gals? I could kick myself for not seeing this earlier and it figures it would take a former Editor in Chief of Cosmopolitan Magazine to help me see the light. I’m going riff with some of the ideas presented in Ms. White’s book and apply them to women in the world of publishing. We are taught to be Good Girls and is this having a devastating impact on our careers.

Then, since I hate whining and love solutions, we will throw out the rule books and explore what it is to be a “Bad Girl.”

#1 Good Girls Are Modest

It is unbecoming to brag, so we are modest and humble and we are shooting ourselves in the foot.

In the corporate world, men are more likely to own their accomplishments, whereas women tend to minimize their achievements. To paraphrase White:

If a man has four years of college French, he has no problem stating he is fluent. Women, on the other hand, will downplay their abilities. We say we have a “conversational grasp” of the language.

When it comes to writing, the second a man even starts a novel, he has business cards with “Author” as his title and he is securing a website. Women, on the other hand? Let’s pause that thought for a little test.

How many of you are aspiring writers? Raise your hand. No one will see.

Now, use that hand to smack yourself soundly and never call yourself that again.

Writers write. There is no try. There is no aspire. Aspiring is for wimps. It takes guts and blood to be a writer.

No one will take us seriously unless we do it first.

#2 Good Girls Need Permission

I cannot count how many writers (usually female) have written a novel, numerous novels and yet still refer to themselves as “aspiring writers.” They are waiting for permission to even use the title even though they have a blog and have written hundreds of thousands of words.

Men don’t do this. At least not in the same numbers. I can attest to that. I’ve met men whose writing was so bad they should have been banned from downloading Word until they took some grammar classes, but that didn’t stop them from having a marketing plan or hiring a PR person.

They don’t hesitate to secure a domain, build a blog, or hire the best person to design their cover and if they can’t get an agent? They are more likely to self-publish without needing outside approval to do so.

#3 Good Girls Don’t Have Desires

So many of us gals are afraid to want something. Why is it so hard for us to admit we want something? To claim a certain life? Why do we feel such shame and a need to hide who we are and what we desire?

It is okay for a man to want sex a promotion a raise to want to be a New York Times best-selling author, but for us? There is almost something dirty about wanting to write. Wanting to write and get PAID to write. Wanting to write and to…be famous for it.

Oh no! Kristen has gone TOO FAR! And there is only one punishment for lighting the grail-shaped beacon…

Dirty, naughty Zewt!

Spank us all!

If we are wives and mothers? The problem only compounds from there. I have a hard time expressing I want to go to the bathroom alone, how am I supposed to say I want to be published a LEGEND?

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#4 Good Girls Are Demure

Demure=INVISIBLE

As a social media expert for writers, do you know one of the biggest mistakes writers make in branding? They fail to use their names. They tweet as @fairywriter or @ILuvBooks or @dragongirl. They do all of this wonderful networking for months and years and yet it is almost all wasted effort. Why? Because unless I am going to change my name to Fairy Writer and slap that on a cover, that twitter handle is doing zilch nada nothing to build a brand.

Remember what a brand is?

A brand is when our name alone is a bankable asset. It is when a name alone has the power to drive sales.

When I get on social media and see writers using monikers, by and large it is women. Men do this too, but not in the same numbers. And, even if men use a moniker, the second I point out the fallacy, they are far more likely to change it. Women on the other hand are terrified of using their name and take way more convincing.

Men are also far more likely to start a blog. Women?

They have to have three angelic visions, four miraculous encounters and a committee of family members to tell them it would be okay to BLOG. Why is blogging so scary? IT IS FREAKING WRITING. It plays to a writer’s strengths, but I might as well ask writers to perform brain surgery from space with a Chia Pet and an egg beater.

What if people find out I like to write? 

Don’t you think they should if you hope they will pay money to read your books?

#5 Good Girls Feel Comfortable Losing

Well, I tried and that’s all that counts. 

We women are notorious for placing ourselves in no-win situations. Out of one side of our mouth we say we can’t be on social media because we don’t yet have a book for sale, but when we do have a book for sale? Oh, well I feel so awkward talking to people because they might think I am selling my book.

*bangs head on keyboard*

When a man publishes a book, he is there to win. He isn’t there to see his name in print. He is there to see his name in lights.

But us gals? We are notorious for settling. We feel awkward admitting we maybe kind of sort of would like to be number one. Men have no problem admitting they are on social media because they would like to sell books.

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Okay, enough of the “Good Girl” stuff.

I hope I’ve made my point. Now *rubs hands* it is time for me to help you cultivate that inner Bad Girl.

If you want this dream, the first step is to know it is okay to want it. Many of you are moms, wives, and caretakers. Maybe you already have a great career and it is “selfish” to want to write. And I am here to say, YES. It is. And sometimes a little selfishness goes a long way. Men outpace us because they are better at being selfish.

We must learn to stuff a sock in the inner Good Girl’s mouth and channel that inner Bad Girl because she is dying to get out more. Being a Bad Girl doesn’t mean we aren’t still kind and gracious, but it does mean things are going to change.

#1 Bad Girls Do It Afraid

Nothing remarkable happens in the comfort zone. You are going to have to suck it up and writer up. Only sociopaths don’t feel fear. Fear is natural and normal but it gets in the way of greatness. I feel women are far more afraid of failure than men. We wait to be “perfect.” We can’t say anything until we have the perfect book. But perfect is the enemy of the good. Do it afraid.

Yes. You might fail. Odds are you WILL fail and good! Keep failing. It’s how we learn.

My motto?

If we aren’t failing, we aren’t doing anything interesting.

So understand everything I am about to tell you is likely going to scare your pants off.

It’s okay, the erotica authors can lead the way 😀 .

Pay attention to that feeling because you will need to remember it. If something scares me (like writing this particular blog), likely I am onto something BIG. It is a sign I am heading in the right direction.

#2 Bad Girls OWN IT

Good, bad, ugly. We own what we do. I admit when I left sales and dreamed of becoming a writer, I wrote the world’s worst novel. It was being used in Guantanamo Bay to break terrorists until it was banned under the Hague Convention as torture.

But you know what? I finished a novel. I did something everyone says they want to do but then never actually do. I own the bad, but what’s been harder? Learning to own the GOOD.

It took weeks for me to put the emblem on this blog that I was named one of Writer’s Digest’s 100 Best Blogs. WHY? Because I am a work in progress, too 😀 .

#3 Bad Girls ASK FOR IT

How many writers are waiting for someone to deliver their big break into their lap? We go to conferences and practically throw up in our shoes at the thought of asking an agent if they’d like to hear about our book. WHY? It is their JOB. Agents don’t have a job without writers.

Ask for what you want. Guess what? All they can do is say no. But, they might just say, “Yes.”

When I wrote my second social media book, I had the terrifying task of finding blurbs. So, I took my own advice and did it afraid. I made a list of all my favorite authors and then…asked. Guess what? New York Times Best-Selling Author James Rollins said, “Yes.”

He already knew me and loved my book.

Omgomgomgomgomgomgomgomg…

But I never would have known had I not dared to ASK. Bad girls don’t hear, “No.” We hear, “Not yet” 😉 .

#4 Bad Girls DO IT

A lot.

We write. We blog. We tweet and by golly we slap our name on it while we are there. I get that the house is a mess, but guess what? It can wait. Most men aren’t waiting until the house is immaculate and all the laundry is done and the kids are all asleep to take time to write!

How many of us are getting up before dawn or staying up after midnight because our dream might just inconvenience someone else? Let them be inconvenienced for a change!

We ladies bend more than the karma sutra and that is okay, but if our husband actually has to watch the kids for an hour in the evening that is too much?

No.

# Bad Girls Are In It to WIN IT

Again, I love, love, love Kate White’s book because it reminded me of so much I’d forgotten. Yes, I am a full-time author, blogger, and C.E.O. but I am also a mom and spend way too much time in yoga pants and covered in crumbs. It is easy to forget to be hungry. It is easy to lose our way unless we are vigilant to keep the path. It is easy to let other people’s opinions matter too much.

Lionesses do not lose sleep over the opinions of sheep.

Bad girls don’t whine. We don’t make excuses and we do not politely wait our turn. We understand life is short and we need to make our time here count.

Understand that this is an amazing world that is rich in bounty and there is enough to go around. Don’t let anyone diminish you. This is your dream. It isn’t your little hobby or your “thing” it is YOU. It is your dream and it is OKAY to WANT TO WIN.

This seems like such a simple thing, but I hope you see how pivotal this realization is. I can give you all the branding and blogging lessons in the world and it won’t help. We don’t have a technology problem, we have a confidence problem.

Vow today to make a change. Start by admitting you want the dream then, for the love of all that is chocolate, slap your NAME on it. No more hiding. I will find you on Twitter and pull your @FairyGurl wings off 😉 .

*kisses*

What are your thoughts? Do you see any “Good Girl” behaviors that have been undermining you? Do you have a hard time calling yourself a…writer? Do you have a hard time with the notion of social media because the thought of admitting you have a dream scares you spit-less? Have you bothered to get a domain name, a website? Blog? Are you afraid to ask for what you want? Do you put everyone and everything ahead of your writing? Are you waiting for permission? Do you feel like you are a poseur or a fake? Do you struggle with perfectionism?

I LOVE hearing from you!

To prove it and show my love, for the month of JULY, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

And yeah yeah I am stressed. Got most of it out of my system last week so these classes will be intense because I east pressure for breakfast. So help me focus on something positive and take a class. Today is my official last day of pity party so ur good.

Check out NEW classes below! 

Upcoming Classes

All W.A.N.A. classes are on-line and all you need is an internet connection. Recordings are included in the class price.

 Character & Plotting (NEW CLASS!) July 8th

July 8th, 2015 7:00-9:00 P.M. EST. Cost is $35

All great plots are birthed from character. The core plot problem should be the crucible that eventually reveals a hero in Act III. This means that characterization and plot are inextricably linked. Weak plot, weak character. Blasé character, blasé plot.

This class will teach you how to create dimensional characters and then how to plot from inner demons and flaws. Get inside the heads and hearts of your characters in a way that drives and tightens dramatic tension.

This is an excellent class for anyone who wants to learn how to plot faster and to add layers to their characters.

We are doing ANOTHER round of Battle of the First Pages!!! July 15th

The first time we did this we had some tech issues doing this new format and we’ve since worked those out, but for now I am still keeping the price low ($25) until we get this streamlined to my tastes.

LIMITED SEATS. This is an open workshop where each person will submit his or her first page of the manuscript for critique. I will read the page aloud and “gong” where I would have stopped reading and explain why. This is an interactive workshop designed to see what works or what doesn’t. Are you ready to test your page in the fire?

Hooking the Reader—Your First Five Pages July 22nd

The first five pages are the most essential part of the novel, your single most powerful selling tool. It’s how you will hook agents, editors and readers. This class will cover the most common blunders and also teach you how to hook hard and hook early. This class is 90 minutes long, 60 minutes of instruction and 30 minutes for Q&A.

Your First Five Pages Gold Level

This includes the webinar and a detailed critique your first five pages.

Your First Five Pages Platinum Level

This includes the webinar and a detailed critique of your first twenty pages.

Bullies & Baddies—Understanding the Antagonist July 29th

All fiction must have a core antagonist. The antagonist is the reason for the story problem, but the term “antagonist” can be highly confusing. Without a proper grasp of how to use antagonists, the plot can become a wandering nightmare for the author and the reader.

This class will help you understand how to create solid story problems (even those writing literary fiction) and then give you the skills to layer conflict internally and externally.

Bullies & Baddies—Understanding the Antagonist Gold

This is a personal workshop to make sure you have a clear story problem. And, if you don’t? I’ll help you create one and tell the story you want to tell. This is done by phone/virtual classroom and by appointment. Expect to block off at least a couple hours.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

 

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So last time we talked about the basics in regards to dialogue and once we grasp the fundamentals—like proper punctuation—we then can focus more on elements of style. How we deliver the dialogue.

We can tell a lot about people by the way they speak. What people say or don’t say speaks volumes. As the writer, it is our job to understand our characters and to know who they are and how they think. We have to master the art of empathy. If we don’t, our dialogue will all sound like US talking. Writing, in many ways is a lot like method acting. We have to crawl inside the head and the psyche of our cast.

Not as easy as it might seem.

Dialogue done well is the stuff of legends though. Think of favorite movies. Why do we love them SO much? Very often…dialogue.

My name is Inigo Montoya. You killed my father. Prepare to die.

Social Roles—The Broad Strokes

I live in my apron only usually no makeup and hair in a scrunch-ee

Whether we like it or not, most of us will fall into some kind of social category with the way we speak. The way we speak will tell others a lot about who we are, our job, our background, level of education and even where we exist socially.

Don’t believe me?

How many of you were once young and wild and free and swore you would never be like your parents? Then one day you heard, “Because I said so, that’s why” fly out of your mouth?

“Why can’t you just do it the first time?”

“I didn’t ask you if you wanted to do it.”

I am bee-bopping along and suddenly hear my mother….

“Well, Spawn, when the mind is stupid, the body suffers.”

Shoot. Me. Now.

No matter how much we try, we are helpless in the face of mimesis. But, that isn’t such a bad thing. This actually makes it easier to do what we do. Since we’ve been around moms, we know how they talk. We can emulate the lingo. We know how teenagers, grandparents, grouchy neighbors, picky librarians, and con-artist family members all talk.

Through these “roles” we gain the broad strokes of what a character should “sound” like. This will help our characters ring true in the mental ear of the reader. There is nothing wrong with having characters who fit into a tidy box. They can still be interesting and unique even in that role.

Yes, I am a mother and I say all the stuff I swore I would never say.

No is just a part of life. 

I also play XBox with Spawn and say things like, “Burst-fire! Conserve your ammo!” “You can’t kill a zombie like that!” 

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Thus, even though a lot of what I say would be very prototypical “Mom Talk” there are elements of how I speak that make me unique within that subset. Not all moms shoot for sport, practice Jiu Jistu and randomly quote Monty Python. Spawn’s mom, however, DOES.

But this is is when we get into the…

Character—The Fine Strokes

Moms say things many other moms say, but each mom is unique. That is the case with most characters. If we don’t take time to really think about who each character IS, we can run the risk of a character sounding like a stock character.

Recently I read a YA and only finished it because I paid full-price. But the biggest reason I had a tough time getting into the story was that all the characters were blasé.

Each character talked like a stereotype. The broad strokes were there, but there was no nuance. Thus, I was left with a cast of characters who were utterly forgettable.

How do we get fine strokes?

Can we buy some on eBay?

This is a tough one to answer. The fine strokes can take years to master. We have to learn to be excellent listeners. We have to learn how to look beyond what people are saying. We have to become masters of empathy and we must study people. Beyond this, though, what is it that transforms a plot-puppet into a 3-D person?

I believe it is in our idiosyncrasies and our contradictions.

Idiosyncrasies 

An Idiosyncrasy is a peculiarity that is specific to one person. For instance, last time I mentioned the no-no about having every character speak in full sentences. Most of us don’t speak in full sentences so it rings untrue when everyone is using full sentences. BUT, some people DO speak in full sentences. That would be an idiosyncrasy and it’s one that is used regularly to convey highly intellectual characters—Ie. Dr. Sheldon Cooper.

A character who is foreign might not use contractions. A character who has OCD might always repeat verbs. A character who is advanced in years might never answer directly, but always answer in colorful parables.

I wrote a really funny character who constantly used malapropisms.

You just don’t cheat on your wife. When you get hitched, you promise to be faithful. You know. Monotonous.

We all have sayings and filler words that are unique to each of us. But adding these subtle details, now we have characters who are far more dimensional.

So we might have a mother who is saying all kinds of mom-like things…only she is unique because she is bad about smashing words together and speaks in hyperbole.

Eat your vegetables and don’t correct me. It’s very condensending.

Condescending.

I know what I said, Mr. Smarty Pants. Hurry up before I trade you to the Jones family for a puppy. At least the puppy would have some respect.

Add Some Layers

Remember that most humans are actually a unique blending of experience and roles. Yes, we might have a mom who is talking like a mom, but what else is she? A mom who is a Japanese violinist would probably talk differently than a mom who is a cop and grew up in Brooklyn.

Culture

Culture impacts a lot more than we might realize. I was born in Texas, but reared by a Yankee mom who is very direct and no-nonsense. I have run into all kinds of trouble with Southern women who feel I am rude. Conversely, I get short with Southern women because I am aging and don’t have time for all the niceties.

My roommate in college was from Georgia and we went round and round and round. She’d say:

Roommate: Kristen, do you think the trash needs to go out?

Me: Nah, looks good to me *keeps going*

Because her culture dictated it was more polite to hint and suggest? I missed most of what she wanted because I was always direct. If I wanted someone to take out the trash, I simply asked.

But here is an extra lesson in dialogue. Just from this example, can you see how conflict can arise simply from expectations? She believed she was asking me to take out the trash and believed that I was ignoring her. Conversely, I couldn’t figure out why she wanted an opinion on the state of our garbage so often. Why didn’t she just ask me to take it out? I would have happily obliged.

Self-Image

How does your character feel about him/herself? A low self-image might make a person a people pleaser. Maybe she is always agreeing with everyone and terrified to have her own opinion. Maybe the character talks too much, tries too hard, never asks about others.

If a character is selfish, he might brag all the time, or have to outdo everyone else in the conversation.

That’s great you caught a fish, but you were on a lake. Now go deep sea fishing. That’s real fishing. I once struggled with a fifteen foot shark for three hours….

Maybe the character is always interrupting others. Maybe the character uses profanity or quotes bible verses all the time. Or both.

Contrast

Sometimes we can use dialogue to make contrasts. Contrasts are very interesting and say a lot about our character. A great example would be Elmore Leonard’s character Boyd Crowder (refer to television series Justified). Now, Boyd fits into a broad-stroke category of a hillbilly. He has a deep southern accent, works with his hands, drives a ratty truck, wears boots, and drinks like a fish.

But what makes Boyd a fascinating character study, especially for dialogue, is he is unexpected. He is a fascinating contrast. Though he is a redneck (and plays this up for his own ends) he uses a twenty-dollar word when a ten cent one would do. He speaks very colorfully. If you ask him the time, he will tell you how to build a watch.

Not only is his speech idiosyncratic, but it is a very unique contrast. One usually doesn’t expect a hillbilly to use words most of us would have to look up in a thesaurus.

Show Don’t Tell

Dialogue is HUGE, HUGE, HUGE for Show Don’t Tell.

Instead of telling us a character is a certain way, SHOW us by how she talks and what she says.

A gossip.

“Now, for the record, I’ve never seen her drink, but she always looks so tired. My brother-in-law always looked that way because he was throwing them back in secret.”

A self-involved jerk.

“Sure, Babe. After I meet with my client, how about I meet you for that cute little college thing you’re doing. What was it again? Art history?”

Y’all get the gist. Now go have fun with it!

All of this is to say that dialogue is one of the most powerful tools for showing who a character is, who they are hiding and maybe even who they could be with a little help from us (Writer-God). Next time, we will dig a bit deeper into dialogue. Who knew there was so much to this? What are your thoughts? What other suggestions do you have for authentic-sounding dialogue?

I LOVE hearing from you!

To prove it and show my love, for the month of SEPTEMBER, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel.

August’s WINNER is lonestarjake88. Please send your 20 pages (2500 words) to kristen at wana intl dot com in a WORD document. Double-spaced and one-inch margins and CONGRATULATIONS!

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook

lonestarjake88

After six years in critique her novel was “perfect.”

Critique groups can be wonderful. They can offer accountability, professionalism, and take our writing to an entirely new level. But, like most, things, critique groups also have a dark side. They can become a crutch that prevents genuine growth. Depending on the problems, critique groups can create bad writing habits and even deform a WIP so badly it will lose any chance at resonating with readers, thus being successful.

The key to avoiding problems is to be educated. Not all critique groups are worth our time. Some critique groups might have limitations that can be mitigated with a simple adjustment in our approach.

Traditional Critique Groups

Many of you have attended a traditional critique group. This is the “read a handful of printed pages or read so many pages aloud” groups. Traditional critique groups have some strengths. First and foremost, they can clean up a new writer’s prose.

When we turned in that high school paper with 60 glorious metaphors on page one, we got an A. Why? Because our teacher’s goal was to teach us how to use a metaphor properly. Her job was not to train us for commercial publication.

In a good traditional critique group we learn that POV does not mean “Prisoners of Vietnam.” We learn to spot passive voice and “was clusters” and why modifiers aren’t always extra-nifty. We will hopefully learn self-discipline in that we need to attend regularly and contribute. We can also forge friendships and a support network.

So where’s the problem?

Traditional critique groups lack perspective.

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Once a week reading fifteen pages only cleans up shoddy prose. Traditional critique groups are looking at a work the size of a skyscraper with a magnifying glass. They lack the perceptual distance to see structural flaws. A novel can have perfect prose page to page and yet have catastrophic faults. In fact, I would venture to say that most writers are not rejected due to prose, but rather, they meet the slush pile because of tragic errors in structure.

Traditional critique groups can tell us nothing about turning points or whether a scene fits properly. They lack the context to be able to discern if our hero has progressed sufficiently along his character arc by the mid-point of Act 2. They have zero ability to properly critique pacing, since pacing can only be judged in larger context. So, my advice is to get a beta reader that you trust. Critique groups cannot do what only beta readers can.

***A beta reader is a regular person who likes to read our genre and will tell us about the story from a reader’s perspective.

Traditional critique groups can also hurt us in the following ways.

Traditional groups can get us in a habit of over-explaining.

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As we just mentioned,  those in a traditional critique group sitting around the table can’t see the big picture. It is hard to pick up a story on page 86 and understand what is going on. Our fellow writers care about us and believe if they don’t say something that they aren’t helping. Thus, they will say things akin to, “But how did Fifi end up in Costco wearing Under-Roos and wielding a chainsaw? I’m lost.”

Well, duh, of course they’re lost.

They’ve missed the last three weeks and haven’t been keeping up with the story. So learn to resist the urge to over-explain in your prose. Our job is to write a great novel…not 600 individual sections our critique groups can follow.

Traditional critique groups are notorious for the Book-by-Committee.

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Not everyone’s opinion is equally valid. If you are like me and lean to the people-pleasing side, you can get in a nasty habit of trying to please your critique group at the expense of the big picture. Learn discernment and how to stick to your guns, or you will end up with a Book-by-Committee, also known as Franken-novel.

One great way to know good advice is to READ craft books. Hooked by Les Edgerton, Save the Cat by Blake Snyder, Story Engineering by Larry Brooks, and Plot & Structure by James Scott Bell are a great start. In fact, ANYTHING written by Edgerton or James Scott Bell, just buy it and read it. You can thank me later 😉 .

That way, when someone offers suggestions, you will know whether or not that advice is supported by leading teachers in the industry.

They can get us in a habit of perfectionism.

Image via Hyperbole and a Half
Image via Hyperbole and a Half

The world does not reward perfect novels, it rewards finished novels. I still run into writers who have been working on “perfecting” the same novel for the past ten years. As professionals, we need to learn to LET GO. Either the project was a learning curve and it needs to be scrapped and parted out, or it needs to be handed a lunch box and sent off to play with the big novels via query or publication.

Scrap it, part it, shop it or ship it but MOVE ON.

Yes, I know NY publishes novels that have typos and grammar errors. But when writers are under contract, they don’t have 6-10 years to ensure that their manuscript doesn’t have a single misplaced comma. In fact, I would be so bold as to posit that readers don’t generally get to the end of a novel and declare, “Wow! That was riveting. Not one single dangling participle in the entire book!”

There are writers I know who have been working on the same book for four, five, even SIX years. I see them at conferences dying to land an agent and get that three-book deal. WHY? New York isn’t going to give them another 12-18 YEARS to turn in manuscripts. The hard reality is that, if we hope to make a living at this writing thing, we need to learn to write solid and we need to learn to finish…quickly.

Traditional critique groups can offer a false sense of security.

Can get you in trouble...
Can get you in trouble…

We must always be looking for ways to have our work critiqued by professionals who are willing to be blunt and who possess the skill set to see our errors. Don’t join a writing critique group simply because they say they are a writing critique group. Look at their credentials. How many successfully published authors has the group produced?

How many people in the group are career writers, authors, or editors? Gathering together because we love writing is always a great idea, but if the group is solely comprised of hopeful unpubbed writers, the critique will be limited. Limited is fine, so long as we make sure to reach beyond that group for additional critique.

We must make sure our work is being reviewed by people who will be honest about any problems. Meeting once a week to sing kumbayah is not the best preparation for this brutal career. Once our book is for sale, we are open to the big bad real world of people with nothing better to do than skewer us publicly on-line in a blistering review.

You will know them by their fruits…

If your goal is to write great novels, make sure any group you join is producing successful novelists. I spent way too many years in a critique group that produced all kinds of articles and NF, but no one had published a successful novel. Then I wondered why the critique was…eh.

When I left that group for the DFW Writers Workshop, my world tilted on its axis because DFWWW is AWESOME and is known for producing professionals in all genres. In fact, I wouldn’t be here without them. I also STRONGLY recommend joining RWA (Romance Writers of America) and find an RWA chapter nearby even if you don’t write romance.

RWA is by FAR the most professional group of authors any of us can connect with. They are at the leading edge of the industry and these folks will totally send in the flying monkeys if you don’t get back to writing. 

By the way, if you want to get more out of your critique group, I have a class this Saturday (details below) that can make sure your larger structure is sound. This class can do what your critique group can’t and it will help you spend your time more wisely.

So what do you guys think? Have you had problems? Does your critique group seem to only run you in circles? Have you fallen for the perfectionism thing? Or am I off-base? What are your solutions? Ideas?

I love hearing from you!

To prove it and show my love, for the month of APRIL, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

Also, for more help on how to use characters to ratchet anxiety to the nerve-shreding level, I am offering my Understanding the Antagonist Class on April 18th and YES, it is recorded in case you miss or need to listen again because this class is jammed with information.

I LOVE teaching this simply because our antagonists are pivotal for writing a story (series) readers can’t put down. Yet, too often we fail to harness characters for max effect. I look forward to seeing you there! I also offer the Gold level for one-on-one. Maybe you’ve hit a dead end. Your story is so confusing you need a GPS and a team of sherpas to find the original idea. Instead of wasting time with misguided revisions, I can help you triage your WIP and WHIP it into fighting form 😀 .

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook