IWSG: The Post-NaNo blues

It’s time for another group posting of the Insecure Writer’s Support Group! Time to release our fears to the world – or offer encouragement to those who are feeling neurotic. If you’d like to join us, click on the link and sign up. We post the first Wednesday of every month. I encourage everyone to visit at least a dozen new blogs and leave a comment. Your words might be the encouragement someone needs.

I just finished NaNoWriMo... wrote 50,000 words in 30 days. You'd think that would make me proud and happy. And it does, on one level. But my insecurity comes from the knowledge that I have SO much revision work to do to even make those 50,000 words legible! I'm standing at the bottom of Revision Mountain and the climb up looks pretty daunting.

I'm going to put it away for a little while and see how I feel about it after that.

Not to mention I don't know what to do with myself now. I love the NaNo community, but it's so fleeting. 30 days fly by when you have a common purpose with so many others. I already miss all my NaNo friends.

Did any of you do NaNo this year? How did you do?

Check out my editing blog too!

So, Hi readers! It's been a while, I know... I mean, since I've posted for anything besides IWSG. I am still working on inspiration here, and it's been dry recently. I apologize. I'm eternally hopeful that I will begin posting here more soon.

In the meantime, I wanted to invite you over to my editing blog at http://writingrefinery.blogspot.com. I write there almost as frequently as I do here (lol). But there I share writing tips, my experiences as an editor, and my deep and evergreen love for Harry Potter. If you think you can handle that, I'd love to see you there, too. And I could use some "followers". It feels a little lonely over there.

I'll still be writing here as regularly as ever, but I thought perhaps some of you might like to share with me over there, as well.

So stop by and say hi! I'd love to hear from you.

Insecure Writer's Support Group: Spending time on something you love

It's time again! Time for Insecure Writer's Support Group, the most awesome group out there on the interwebs, if I must say. You can find the linky list to sign up for IWSG here, and if you're a writer you should DEFINITELY sign up. Giving and receiving monthly encouragement from others in the trenches of writing, creating, publishing, rejection, acceptance--the entire roller coaster that is the life of a writer--you don't want to miss out!

My insecurity this month comes from the list of "shoulds" that hovers around me whenever I sit down to do something like writing (or painting, which I also enjoy). I find myself blocking up and not being able to access my creative muse because all I can see is the pile of dishes in the sink, or the giant tumbleweeds of dust bunnies chasing my cats around the house, or the dwindling bank account sending out an S.O.S. for more freelance editing clients.

Some days it doesn't matter. Some days the muse is prodding me so hard that I have no choice but to write (or paint). And I have a few different lines I use to combat the list of "shoulds", but mostly I just want to go hide under my desk, and then I don't get ANYTHING done, not even anything from the list of "shoulds"!

What do you use to fight back and claim your writing/creative time?

Insecure Writer's Support Group: Only you can know

Hi! It's time for the Insecure Writer's Support Group, created by Alex Cavanaugh. Seems to be the only blog post I can be reliably certain of writing. Well, that's ok. If you're an insecure writer, like me, and you're dying to find a group that will boost your spirits, this is your lucky day! Hop on over to Alex's blog and sign up, then start posting! We're happy to include you.

Feedback. Reassurance. That's what this group is all about.

Positive feedback is awesome. So is the reassurance that you're good at this... that someone wants to hear your story. That someone else cares the way you do about your characters.

But a lot of times you don't get that kind of encouragement until you're near the end of the project. So what do you do while you're in the middle? In the throes of stress and anxiety, wondering whether you're just a hack who can't even cobble together a basic paragraph...?

Me, I do a lot of avoiding, of hiding from my work and finding anything else to do to make me feel successful, confident, better about myself. On the one hand, that works, because I don't have to feel those horrible crushing feelings that the fear of failure causes in me. But on the other hand... there's still this novel sitting there... waiting to be written. Waiting for me to return to it.

At some point you have to make a decision. You can do this. It's your story. You have to tell it. Is it worth it in the end to go through the pain of self-doubt, to struggle with the fear of inadequacy? Only you can know. Only you can say. Your characters, your story... it's yours. And even if you find that the feedback is less than positive and the reassurance is thin at best, you're the only one who can tell it.

IWSG: It's never enough

If you've never heard of the Insecure Writer's Support Group, you should check out this great community of writers here! Join and share your insecurities and encouragement with others on the same journey. The amazing Alex Cavanaugh started it all.

I get bogged down, find myself stuck inside my own head trying to convince myself I'm not a writer, or that I'm no good at it so I just shouldn't do it... If I was a writer I'd HAVE to write every day and I don't... or at least I convince myself not to... so I must not be a writer, right?

It's so easy to think of all the reasons that I might not be doing enough, or capable enough to follow my dreams, to succeed as a writer or as a freelance editor.

Well, this week, the fabulous Anne Rice wrote ... almost directly to my insecurities via her Facebook page. Thanks Ms. Rice.

Anne Rice

I've often said there are no rules for writers. Let me share the WORST AND MOST HARMFUL ADVICE I was ever given by others. 1) Write what you know. 2)You'll have to polish every sentence you write three or four times. 3)Genius is one tenth talent and nine tenths hard work and 4) You're not a real writer if you don't write every day. --- ALL OF THAT WAS HARMFUL TO ME. ALL OF IT. IT HURT AND IT SET ME BACK. ----- So I say again, there are no rules. It's amazing how willing people are to tell you that you aren't a real writer unless you conform to their cliches and their rules. My advice? Reject rules and critics out of hand. Define yourself. Do it your way. Make yourself the writer of your dreams. Protect your voice, your vision, your characters, your story, your imagination, your dreams.

IWSG: Finding courage in the midst of failure

It's not easy to fail repeatedly. It's not possible to fail repeatedly if you only try once and let your failure keep you from ever trying again.

I'm having a frustrating experience this week. I used to have a hobby aquarium... 4 years ago before all of my life got put on hold and we moved to Connecticut (I call those the Dark Years, that time in Connecticut...). When I had my aquarium(s) I kept angelfish. They were beautiful and so happy in my tanks that I had two mated pairs and produced a LOT of angelfish fry to trade back to my LFS (Local Fish Store). One might say that for a hobbyist, I was an expert.

So now that we've been back in California for 6 months, I decided to fill up my aquarium again. I spent a month preparing, cycling my tank, doing water tests and changes as needed to get things just right. Then I brought home three BEAUTIFUL little angels to live in my tank happily together.

That was Friday. Today is Wednesday and I am down to one. That's right. TWO of those angels have died in the past five days. I'm mystified. The LFS owner is mystified. I'm crushed and disappointed, too... and doubting my skill/experience. How could this happen??

I find that writing is a lot like fish keeping. There's a fragile, almost mystical balance we're all looking for. When it's good, we find that place where our characters thrive, where our agents think we're brilliant, where our novels touch lives and inspire others to write as well. And when it's bad... woe is us! We might as well give it up!

I'm in that bad place right now... both in writing and in fish keeping... and I keep reminding myself that only by making mistakes can I learn and grow... and that even though the disappointment of not getting it right is physically painful and emotionally crushing... trying again and getting it right is worth the effort. In the matter of fish keeping, I've been there before. In the matter of writing, I am trusting the experience of others.

Does anyone else out there feel this way?

Insecure Writer's Support Group: Trying something new

This is Insecure Writer's Support Group, a monthly group hosted by the ever amazing and talented Alex Cavanaugh. Anyone can join in any time, so please hop over to his blog and sign up! You won't regret it.

It is SOOOO easy to get stuck in a rut, but in your writing and in your life how many times do you fall back to the same old thing because it's safe, comfortable, and you know it well? I have this problem a lot... mostly with my life, a little less so with my writing.

Recently, I've felt like my inspiration for characters and plots has been dragging... that I keep rewriting the same thing and I DON'T LIKE IT! I want to write something new for me, something exciting and motivating, something with zest.

So what I've decided to do is try new things in my real life... new activities that get me out of my house and meeting new people, stretching my comfort zone, and honing some skills that are NOT directly related to writing. I'm hoping that these activities will spark my imagination again.

I signed up for a portrait drawing class, found a knitting circle to attend, and scheduled time to attend a student composers concert, all to give my brain and my social skills some exercise. Um... except I'm so intimidated by trying new things! What if I'm not very good at them? What if the people don't like me? Wouldn't it be so much easier just to try these things from the comfort of my own home?

I'm not letting myself cringe and cower, though. I'm going to dive out there, try something new, and maybe fall flat on my face. Who knows? Who cares, though? My characters will never have any real depth if I don't have the courage to try something and risk failing at it as well.

How good are you at trying something new?

Insecure Writers' Support Group

It's that time again! It's the first Wednesday in March. That means it's time for Insecure Writer's Support Group, hosted by Alex Cavanaugh. Anyone can join, so hop on over to the IWSG page for more information and sign up!

So "the best laid plans of mice and men often go awry," said Robert Burns. I had lofty schemes of finishing a NaNo novel this year, and after the first week I dropped the ball. Well, but that's not exactly true... it's just that a daily word count became less important than some of the other things that November threw at me.

I always feel guilty for setting my writing aside, but then I try to remind myself that a well balanced life is my goal. Because, in all honesty, it is. I want to enjoy my life and feel like the things I pursue are enhancing it, instead of eroding it. Do any of you find that problem with balance?

On that note, I'm off for pastry and time with some out-of-town friends.

Insecure Writer's Support Group!

Hi everyone! It's the first Wednesday in October. That means it's time for Insecure Writer's Support Group, hosted by ninja captain, Alex Cavanaugh. Anyone can join, so hop on over to the IWSG page and sign up!

My first post in this group for a while. I apologize for my absence. I was... deep under the tidal wave of real life called "Moving Across Country." I think, maybe, that I've figured out how to tread water in my daily life again instead of drowning the way that I have been for the past few months. Ha! And I'm trying to prove it to myself by writing this post out early and scheduling it for the correct day. Because, honestly, I don't want to miss it! Being part of your collective support and feeling supported by IWSG has been such an important part of my growth as a writer over the past couple of years. I appreciate it. VERY MUCH.

So, as it always happens after I've signed up for NaNo, I'm suddenly busy with a trillion things to do! I have three manuscripts to edit, a friend coming from out of town to stay for a while, lots of Doctor Who to watch before the 50th anniversary ep airs on November 23rd (I'm going to see it in 3D on the 25th), more to do at the horse barn... it's just a massive pile of everything good. And I'm grateful for that... that it's all good things... it's just...

Why is it that when I commit to do something like NaNo I get an avalanche of everything else that I want or need to do? Is it the Universe messing with me?

Does this happen to anyone else?

Let's hope by the time you read this that I'm seven- or eight-thousand words further along on my manuscript. That's what NaNo is for, and I'd like to think I have the resolve to get there. Fingers crossed... or not, because I need them for typing.

Happy writing, NaNoing, or whatever adventures in make-believe and magic you are having in your creative life today.

IWSG: Taking the leap

Hey!!! It's the first Wednesday of the month and I'm actually prepared enough to offer up my piece of the Insecure Writer's Support Group today. Woohoo! Thanks to the amazing Alex Cavanaugh for launching this group that has been such a great... well... support to writers like me who need to be able to talk about our fears and know that someone out there hears us and that maybe they know what we're going through, too. You should really join us. You'll never regret it.

What I want to talk about today isn't necessarily something that's strictly related to writing... but it's something that I'm going through right now and I needed to share.

If you didn't know yet, my husband's job is being outsourced at the end of this month. That's a good thing, believe it or not. N has been struggling with stress and frustration over his career for years now, and most acutely in the past three years. It's time for a change, time for us both to leap out into the great unknown and let our dreams of what we've always wanted to do take flight.

We've known this change was coming for months now, so we've had time to strategize and prepare. That doesn't mean we're ready, though. As the moment of truth draws nearer, we lean forward and look over the edge of the Cliff of Doing What You Dream. That's a pretty steep drop! Our hearts flutter a little more anxiously with each passing day. Soon, we're going to be faced with the decision. Do we really jump and risk the possibility of failure (or wild success)? Or do we do the safe thing and go back to occupations that we hate, but that we know will meet our budget each month?

The best thing, and an important piece for those who wish to experiment with flying, is that we are moving back to California, to a place where we have a support network, people to encourage us along the way. Talking through your fears and frustrations makes them easier to overcome. It's one of the reasons I love the IWSG. Supporters help lessen the impact when you fail... and give you the courage you need to try again. Thanks!

I hope that we'll at least push ourselves over the edge and see what we're capable of. We have a safety net, if we need it... but we'll never know if we can fly if we don't take the leap.

A to Z Challenge: J is for Jargon

(I totally fell to pieces during April's A to Z Challenge... but I promised to follow through no matter how long it took to get to the end. So here's an installment, for your reading pleasure. Thanks for sticking with me!)

The Merriam-Webster's Collegiate Dictionary (11th Edition) lists the first definition for jargon as confused, unintelligible language.

While this definition holds true of a lot of first drafts (and quite a few of this blog's posts, admittedly), the definition I want to focus on is "the technical terminology or characteristic idiom of a special activity or group."

What more special group is there than your novel's cast of characters? How often to you find yourself writing dialogue (or exposition) that makes complete sense to you, that falls well inside the normal speech patterns for your characters, only to hear from your beta-readers that they have no idea what your characters are talking about?

Especially when you're writing fantasy, unique terms and phrases to describe objects or states of being are necessary! But the problem is how to introduce those terms, that jargon, without throwing your reader into a tailspin of confusion as they try to decipher exactly what your characters are trying to say.

Once again, I turn to the talented J.K. Rowling to illustrate what I believe to be a top-notch example of how to work jargon into accepted language for the reader.

"Where was I?" said Hagrid, but at that moment, Uncle Vernon, still ashen-faced but looking very angry, moved into the firelight.
"He's not going," he said.
Hagrid grunted.
"I'd like ter see a great Muggle like you stop him," he said.
"A what?" said Harry, interested.
"A Muggle," said Hagrid, "it's what we call nonmagic folk like them. An' it's your bad luck you grew up in a family o' the biggest Muggles I ever laid eyes on."

If you do this too often, unfortunately, you're going to overwhelm your reader and cause them to fall out of sync with the story. But! For the important terms, it's worth experimenting with ways to sneak the explanation in.

One thing to note about the definition of the word muggle here and all it's nuances the importance of characterization in helping to paint the picture of the term. Rowling has spent chapters by this point characterizing the Dursleys and their relationship with Harry so that when Hagrid labels them muggles, the implications of such a word reach far beyond nonmagic. So much so that when you hear the word muggle, do you not immediately thing of Dursley?

Take some time and create a list of the jargon you employ to build your world. Which meanings are obvious to your readers? Which are creating unnecessary confusion? How can you craft your narrative in such a way that the meanings of the words stretch beyond the literal definitions?

Still breathing

I'm stopping by to say "Hi" and "I'm still alive." It's been a crazy month for me, and I have a lot to do moving forward. I am pondering retooling this blog... I am keeping my business going... I am moving to California at the end of the summer... and somewhere in the midst of all that I am creating... something. I hope you are all well. I'll leave you with a detail of my new painting. Love and lots of literature to you all!

A to Z Challenge: I is for Inciting Incident

Yeah, that's right! TWO I's! There must be some sort of prize for that, right?

You hear the term Inciting Incident a lot in screenplay writing self-help articles. And it's true that the II is highly important to movies and T.V. You have to have something for people to stick around for after the commercial! (of course, not so much in this age of computers... but when I was a kid... yeah)

In writing it's just as important. Wiki Answers has a couple of great definitions for II:

* The conflict that begins the action of the story and causes the protagonist to act 

*Without this event, there would be no story. Also, it is better described as the State of Imperfection made explicit.

The II is what sparks the adventure! Where would Harry Potter be if he had never gotten his letter from Hogwarts? And I don't need to tell you, master storyteller J.K. Rowling didn't make that as simple as walking out to the mailbox, either. The amount of potential energy wrapped up in what it took to get that letter to Harry and for him to find out he was a wizard carried her through 7 novels and 8 movies! Oh to write a scene like that...

The important thing about the II is that it should come along fairly early in your story line. It doesn't necessarily have to be in the first chapter or in the second, although usually SOMETHING inciting should have happened by the end of the second chapter. In HPaTSS, in the second chapter we find the prelude to the II... the incident at the zoo reveals that there really is something highly unusual about Harry, setting us up for the II actual in chapter three.

If you have too much set-up, you risk losing your reader's attention. Pushing your II up to the second or third chapter helps to tighten your plot and get your reader invested in your characters development (or survival: see Hunger Games).

What other examples of IIs can you think of in your favorite books?

A to Z Challenge: H is for Hyperbole

Hi everyone... I just wanted to say SORRY for missing the letter today. I wanted to talk about Hyperbole (the art of exaggeration), but I was washed out to sea on a wave of manuscript editing. (See what I did there?)

I'll catch up with you all tomorrow.

Thanks for your understanding!

A to Z Challenge: F is for feedback

Ok, so here's a step away from the elements of a novel. This one is more focused on the editorial process.

Feedback.

I'm talking about taking your precious work that you've been slaving over for months (years for some of us) and sharing it with people whose opinions you trust and who can give you honest, constructive criticism for how to improve upon the clarity, structure and style of your work.

I  know, it's a scary prospect. I have yet to show anyone more than the smallest taste of my own manuscript because I already know what the feedback will be.

Unfortunately, the main problem I see with manuscripts in the slush pile is lack of feedback. A manuscript that has been read and vetted by trusted critique partners and/or professionally edited has a lot better chance rising above the rest of the slush. A lot of authors would save themselves a giant helping of humble pie if they would only take the time to get feedback on their work and then put that feedback to work in a revision (or 10).

What's your process like? Do you have trusted critique partners that you go to?

A to Z Challenge: E is for Entry Point

Entry point is where your story begins... When we crack the book open and read the first page, what is your character doing?

Do we begin at the beginning? "In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole , filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort." In The Hobbit, J.R.R. Tolkien begins by explaining Bilbo to the readers. It is our first encounter with a hobbit after all. Through the first chapter, as the action unfolds, Tolkien characterizes Bilbo so solidly that we end up with a vibrant picture and well-defined expectation of what Bilbo is like. And then he does something unexpected. The adventure is just about to begin... and what an adventure!

Are we in the middle of the action? "My husband’s mistress leveled the gun at me. Her perfect, blonde curls bounced as she took a firing stance in the doorway to the conference room. Our eyes met over the gun, and the alien clone holding me, hitched up my arm to use me as a shield. The clone adjusted the quiack knife against my neck to make sure I knew he meant it. My husband’s mistress, Trish, puffed her bangs out of the way and squeezed the trigger." This was the beginning of a novel written by my blogging friend, the amazing and talented Rena. I won't go into the reasons why she changed her entry point, but this, as one of her previous options, illustrates the idea of jumping RIGHT into the action. We learn a lot of details rather quickly about the characters and have immediate tension and excitement to draw us further into the story.

Does the narrative start in the past (to set the stage) and then jump to the present? The best example of this is still Harry Potter and the Sorcerer's Stone Chapter 1. Other examples frame this kind of entry point as a prologue. Example: Seraphina by Rachel Hartman, "I remember being born. In fact I remember a time before that..." Depending on the amount of back story you need to set up your reader's understanding of the current action, this can be a good idea... or it can be a bad idea. If the information in a prologue needs so very much to be part of the story, you might want to consider ... making it part of the story!

Entry points can and do change over the course of drafting and revising. Sometimes skipping the set-up and heading straight for the action is the best thing you can do to jump-start a lagging narrative. Other times the set-up, artfully done, is required to help attach your reader to the main character. How does the current entry point of your WIP set the stage for your novel?

A to Z Challenge: D is for Dialogue Tags (and do-overs)

A few months ago I wrote this post about dialogue tags. Because it corresponds with the theme so well (including the obligatory Harry Potter examples), and because so many of you are new to the blog anyhow, I thought I'd re-post for your reading pleasure.

The general feeling is that if dialogue in a scene needs the tags, it's poorly written; that writers should aim for conveying emotion through the characters' words instead of spoon-feeding it to the readers in the narration. It is the mark of an insecure writer that he feels the need to give you information that should have been conveyed in the dialogue, to make sure the reader understands that his characters are emoting or what the scene is supposed to reveal. Trust the reader to figure out what the dialogue "means". And after having a couple of critique partners review it, if they point out that a run of dialogue really is too obscure, then take the time to re-write. Beats are easy to add where they are needed. It's harder to extract them, I find.

In the book "Self-editing for Fiction Writers" by Renni Browne and David King, the authors suggest:

"It's best to replace only a few of your speaker attributions with beats. A beat after every line of dialogue is even more distracting than too many speaker attributions. What you want is a comfortable balance."

I tend to agree with that sentiment. Too many tags or beats in a run of dialogue can throw off the momentum of the scene so much that the readers forget what the characters are talking about by the end of the page!

I don't think that all beats and tags are bad. I do think a writer needs to choose her beats wisely and make the most of them. First she needs to understand the anatomy of the scene she is writing: What are the key emotions at play here? How fast is the exchange between characters supposed to feel? What else is going on in the scene? and Which actions are important to the development of the scene?

And now, because examples in real life are always fun, I'm going to borrow from J.K. Rowling to illustrate my point. What I love about Rowling is that she's not perfect. But her characters emotions are perfectly conveyed.

............................................
Excerpt from "Harry Potter and the Prisoner of Azkaban":
"I DON'T BELIEVE IT!" Hermione screamed.
Lupin let go of Black and turned to her. She raised herself off the floor and was pointing at Lupin, wild-eyed. "You-- you--"
"Hermione--"
"--you and him!"
"Hermione, calm down--"
"I didn't tell anyone!" Hermione shrieked. "I've been covering up for you--"
"Hermione, listen to me, please!" Lupin shouted. "I can explain--"
Harry could feel himself shaking, not with fear, but with a fresh wave of fury.
"I trusted you," he shouted at Lupin, his voice wavering out of control, "and all the time you've been his friend!"
"You're wrong," said Lupin. "I haven't been Sirius's friend, but I am now--Let me explain..."
"NO!" Hermione screamed. "Harry, don't trust him, he's been helping Black get into the castle, he wants you dead too--he's a werewolf!"

Excerpt from "Harry Potter and the Order of the Phoenix":
"There is no shame in what you are feeling, Harry," said Dumbledore's voice. "On the contrary... the fact that you can feel pain like this is your greatest strength."
Harry felt the white-hot anger lick his insides, blazing in the terrible emptiness, filling him with the desire to hurt Dumbledore for his calmness and his empty words.
"My greatest strength, is it?" said Harry, his voice shaking as he stared out at the Quidditch stadium, no longer seeing it. "You haven't got a clue... You don't know..."
"What don't I know?" asked Dumbledore calmly.
It was too much. Harry turned around, shaking with rage.
"I don't want to talk about how I feel, all right?"
"Harry, suffering like this proves you are still a man! This pain is part of being human--"
"THEN--I--DON'T--WANT--TO--BE--HUMAN!" Harry roared, and he seized one of the delicate silver instruments from the spindle-legged table beside him and flung it across the room. It shattered into a hundred tiny pieces against the wall. Several of the pictures let out yells of anger and fright, and the portrait of Armando Dippet said, "Really!"
"I DON'T CARE!" Harry yelled at them, snatching up a lunascope and throwing it into the fireplace. "I'VE HAD ENOUGH, I'VE SEEN ENOUGH, I WANT OUT, I WANT IT TO END, I DON'T CARE ANYMORE--"
He seized the table on which the silver instrument had stood and threw that too. It broke apart on the floor and the legs rolled in different directions.
"You do care," said Dumbledore. He had not flinched or made a single move to stop Harry demolishing his office. His expression was calm, almost detached. "You care so much you feel as though you will bleed to death with the pain of it."
......................................................

These two scenes illustrate very different emotions. Characters in both scenes do a lot of yelling, but the timing of the dialogue is the key to the emotions in each scene. In the Prisoner of Azkaban scene, the urgency of the scene is conveyed by quick back-and-forth dialogue. If you remember the same scene in the movie, there are a lot of actions that the characters take (i.e. looking to and from one another; Hermione steps in front of Harry to shield him from Sirius and Lupin; Lupin reaches out to implore Hermione to listen). None of those actions are portrayed in the dialogue, because to add them, while giving you a physically more accurate description, would take away from the momentum of the scene. The readers can just as easily imagine the action as they read the dialogue.

In the second scene, from the Order of the Phoenix, the dialogue progresses much more slowly. The emotion  in this scene does not come from a rapid-fire exchange (although Harry does do a fair bit of shouting), but from Dumbledore's slow and calculated responses. The deep feelings of regret and care for Harry that Dumbledore expresses come to light through his patience in allowing Harry the space to explore his own emotions. The pace of the dialogue allows much more room for beats of character action (all taken by Harry, a detail that is also telling...). But more than that, each beat has a purpose, shows the emotion rather than telling it (more often than not).

As a writer, understanding what your characters are going through and how they would respond to one another in a scene can mean the difference between capturing the readers' hearts and getting lost in the details. The right beats in the right places give meaning to the words spoken and emotions felt by your characters, allowing the reader to peek through the windows in their souls.

A to Z Challenge: C is for Conflict

Every good story has conflict. The trick is how you utilize it. Conflict can help your character grow, can give her something to overcome, can peak the reader's interest in the plot. If your character always gets everything she wants without having to fight for it, that can make for a really short, or a really boring story.

Conflict adds intrigue, creating tension in the narrative. It comes in many shapes and forms, both internal and external.
(wo)man vs. (wo)man - Harry vs. Voldemort; Ulysses vs. Medusa; Hector vs. Achilles... in each of these instances the villain is (eventually) corporeal, someone that must be defeated to ensure the hero's survival. The odds are stacked against the hero and he will have to use all his wits to gain the skills necessary to overcome his foe.

(wo)man vs. nature - Katniss vs. the Hunger Games arena... technically this is woman vs. a machine taking the form of nature, but you get the point. Fire and rain, lack of water and food, tracker-jackers, mockingjays, and muttations, all these "natural" forces test Katniss's skills and ability to survive, and teach her about herself (and the reader about her).

(wo)man vs. self - Ista vs. herself (Paladin of Souls, by Lois McMaster Bujold... love her, btw)... In this lovely novel Ista has to learn to move past the trauma she has experienced and allow herself to be open to using her gifts for the good of other characters in the story. The external conflicts here are secondary to the internal conflict, and her character grows and changes in beautiful ways by "The End."

Knowing your character's back story can help you discern when conflict will come up (ex: Hermione's muggle-born status fuels her desire to excel; Sirius and Snape's past animosity causes clashes when they are forced to work on the same side; Snape's love for Lily Potter motivates him to agree to protect her son, but his hatred for James Potter makes him antagonize Harry at every opportunity). The best conflict has a reason, even if it never has a resolution. Snape never forgave Harry for being James' son and it's hard to tell if Harry ever forgave Snape for killing Dumbledore... but the poignancy of the emotions that the conflict between those two characters creates is one of the most memorable aspects of that series.

So what conflicts arise in the lives of your characters (major OR minor)?

A to Z Challenge: B is for Back story

Back story is a tricky topic. You can't live with it and your MC can't live without it! The term "Back story" encompasses all those things that may have happened to your main character (or to the townspeople he's trying to help) before we meet him in the first pages of your book.

Take the first chapter of Harry Potter and the Sorcerer's Stone**. J.K. Rowling sets the stage and the characters for her epic YA series in the first chapter and reveals a surprising amount of back story to her readers succinctly and with masterful characterization and style. By the end of chapter one we know all we need to know about the Dursley family and have tantalizing bits about Dumbledore, McGonagall, and Hagrid to carry us further into the story... as well as some crucial details about Harry Potter himself. Chapter two begins ten years later! We don't get any detail about what those ten years entailed, and we don't really need them because the characterization of Harry and the Dursleys in the subsequent scenes tells us everything, and I mean everything, we need to know just what happened during those ten years. But you can bet that J.K. Rowling knows what every minute of every day of Harry's childhood was like.

Each piece of back story that you know for your character can help create a more richly rounded picture of him (i.e., how and why he reacts to given situations, why he knows or thinks what he does about certain topics). You may think that it's just as important for your reader to know all this back story as it is for you. Honestly, though, it's not important... at least not yet.

SOME of this back story information is pertinent to the novel. MOST of it is not. Certain bits of back story, when they are revealed, dramatically enhance the action and push forward your plot. Knowing which bits are which can be difficult. Having someone read your manuscript with a critical eye and point out bits that don't pertain directly to the plot can help a lot!

Don't throw out or summarily delete all those delectable details, though! Someday you will have fans who will devour those bits. Save them for the special edition you release to your adoring fans after you've hit the bestseller list! Which bestseller list am I talking about? That is up to you.

**Editorial confession... I love Harry Potter deeply and dearly. I will likely use examples from that series a considerable amount during this series. If you love Harry Potter, too, I think we're meant to be BFFs for life. If you DON'T like Harry Potter... I'm sorry but it's just not going to work out between us...

A to Z Challenge Kickoff: Let's start with A

Today is the beginning of the A to Z Challenge. This is where a bunch of crazy bloggers all decide to take the  weekdays in the month of April to post on topics that begin with a different letter of the alphabet every day. If you want to join, there's still time! Just follow this link.

A big shout out to ARLEE BIRD, founder of the challenge. What a fun idea! So glad to be able to participate!

My theme for this month will be (loosely) the ABC's of the Editing Process. This collection of random ramblings will have perspectives on editing and writing techniques that will hopefully help strengthen the quality of OUR writing and OUR final products. Yep, not just giving out advice here. I'm hoping to learn something for my own craft, too! I can't wait to hear your feedback, as well, so leave lots of comments.

So without further ado: A stands for Action

Action is the main vehicle for getting your characters from "Once Upon a Time," to "The End." Without action, your MC would never learn that he is a wizard, find that golden ticket, stand up against the oppressive regime that forces children to fight children to the death, or fall in love with his best friend. Your MC wouldn't even be able to get out of bed in the morning!

One of the main pitfalls of the beginning writer is the tendency to want to describe everything, to tell the reader about the details of setting and characters, even down to the brand of jeans or what cars are driving by on the street. We spend hours crafting the perfect sentence that will describe exactly what everything in our head (or in front of our eyes) looks like. While nothing is more important that setting the scene, when it comes to details (or the overuse of them), less is more! They call this concept "Show, don't Tell." If the detail is important, somehow it will fit into the action.

This is not to say that a manuscript should be all action, but action moves the plot forward while description puts the plot in neutral... it's not moving backward, but it's not really going anywhere. Finding the balance that fits your plot is the key. If we're having a thrilling car chase or a heated argument, the rest of the details will naturally fall in the background (into that less is more category). If the MC is pondering the meaning of life while sitting on the edge of Santa Monica Pier, it's possible that the details will be more relevant to what you're trying to convey.

While some readers are philosophers, and some texts need accurate description to be understood, most readers are just looking for the action and they'll skim right over that detailed description of what the ceremonial knife set looked like. Even if they read it word for word, there's no guarantee that what they see is what you see. There are some things that have to be let go.

I know it's hard, but take a look at your WIP (work in progress). Locate those chunks of descriptive prose. Yes, you were poetic, an artist unparalleled. Now decide if that description really adds to the theme/symbolism/plot/character in a way that the reader will connect with. Can't decide? Ask an honest friend or a crit partner. If the answer is no, consider cutting it out of the action and squirrel it away for the supplemental materials they'll want to print after your book has made you famous.