Tips from Beneath a Stack of Marking on Writing Academic Essays

Normally, I stick to blogging about writing, romance, books, and so forth. I don't talk a lot about my teaching work here, partially because it's exhausting work and so much more fun to talk about romance in my off-hours, but partially because I think fiction is what I know I have in common with the folks reading here. But, yes, in real life, I teach. This term, I have 125 first year university students. It's enjoyable teaching, but a lot of work. Especially this week, since I am currently struggling to finish marking 125 short essays. Golly, but that soaks up the time.

On Twitter today, as I marked, I was sort of Tweeting a few tips here and there, in case any university students were reading. I was kind of throwing out what I consider the most common freshman/junior essay writing errors or weaknesses, from my nearly ten years marking experience in classes at these levels. Frosh classes have their own personalities, of course, but it almost seems like the basic common issues never change.

Then I thought maybe these are use to more than just university students, as I saw more than a few reviewers, writers and editors re-Tweeting or agreeing. In actuality, these are tips that apply to fiction writers, as well, for the most part. Therefore, I have decided to post them here, along with a few new ones.

Likely the most common error is not editing and proofing adequately, of course, but that is something that comes with care and attention, and is easily fixed - just re-read the damn thing before hitting print! What I normally tell students to do is read it aloud, to avoid skimming. However, another common problem with frosh writing is that comes off as too conversational, which makes for difficult reading, so you can't always just rely on reading it aloud, either. For papers worth a hefty percentage, get another pair of eyes to check for clarity, if you can.

Another common flaw, especially seen in students fresh from high school, is the apparent desire to write like "a smart person." The sentences come out clunky, awkward and often unintelligible. This also leads to loss of content marks if your argument suffers or you end up saying things you didn't mean because you were using words you didn't full understand. Basically, don't use "big words" if you are hazy on their meaning. Communicating effectively is more important than "sounding smart." It usually has the exact opposite effect, and it misses the point of writing a paper. In academic writing, as in most writing, clarity and effective communication of thought/experience/knowledge/research is your central goal. Appearance means nothing if I can't understand you.

One of my personal pet peeves is overreaching generalizations. Firstly, generalizations just don't work in the humanities, because we try to question everything - thus, I am programmed not to buy them. Secondly, once you say things like "all humans..." or "never" your argument is immediately invalid, because assertions like that are almost never totally correct. (See how I softened that up there?) What I really hate is when a student starts a paper with one, as if that is the hook - a grand epic sweep of the subject: "For millions of years, ever since the first human walked the earth, questions of ethics have plagued him..." Really? Not only is that non-provable, it is also completely meaningless. Avoid windy rhetoric, and just get to the point - this is much more effective.

Further, word lengths are there for a reason. If you are unable to write a long enough paper, you have not done enough research, you didn't pick a strong enough thesis topic/question, or you haven't given yourself enough time to think about the topic - or you are just plain rushing the writing phase. Similarly, if you are unable to get the paper in under the maximum, you might need more editing or clearer thought - or, more likely, you have not picked a narrow enough thesis. It is far better to cover fewer things and do it very well than to try to cover everything and have to do it in shallow strokes. No paper can tell the prof everything you know in the world, so don't attempt it.

I do appreciate brevity and conciseness, but I also want to see the significance of the points you raise - give them time to gestate, stick to your strongest points, and cut away the fat as needed.

This relates to another tip for students - don't spend the first page or two wandering around the issue and talking yourself into an argument. This is very common for academic writers, and totally fine if that's what you need to do, but I, the reader, shouldn't see it. Do it if you must, and then cut ruthlessly if need be.

As to general content, try to sense what the educational purpose of the assignment is and do it. I don't recommend people rely on their ability to psyche out the prof, but it is central to (1) read the instructions, (2) consider the instructions, and (3) fulfill the instructions. And lead the prof through the stages carefully. Also, consider the instructions in the context of the class. What I mean is, consider the essay as if it were an exam question - the prof wants to see what you have learned, and what you know or have researched, so make sure that is the bulk of your paper. When using terms, show that you know what they mean. Use your research to display your prowess in the course focus. And make sure you are doing every part of the assignment. Never spend too much of your paper just regurgitating long quotes, but put them in your own words, and exhibit your own thought. Show us you have learned something, and we're much happier.

Finally, give each stage adequate time and attention. The conceptual stage, the research phase, the writing process and the editing work all need to be done well to produce a quality paper. Scrimp on one, or don't leave enough time to do all of them, and the paper will suffer. And don't crowd them - researching while writing at the same time, for example, can lead to accidental plagiarism, which is so not worth it. Trust me.

So, those are my learned tidbits from marking undergraduate papers, and maybe they will be useful for all writers - or not. There are other things, such as "if being a day late will produce a better paper, take the late penalty," or "provide a reference everywhere I might ask how did you know that?", but those things are idiosyncratic. In general, be clear, concise and do your job - whatever that is for that particular paper, along with the universal goal of communicating effectively.

In any case, back to marking... Sigh.

Have a good Wednesday, folks!

Summaries, Taglines and Blurbs, Oh My!

I hate writing "blurbs" (I even hate that word), and taglines are deceptively easy looking, but end up being a pain in the arse. How do you write a few lines (or as few as 12 words) to encompass the whole of the work - and be attractive enough to make people examine your book closer?

Now, I have started the habit of making the blurb and the tagline right after I've written the book/story (sometimes during or even before), and fine-tuning it during editing. Because if you wait to do it months later - it's a pain in the butt to recapture that spirit.

Sometimes, doing blurbs and taglines feels embarrassing. You hear the movie-trailer-voice-guy in your head, and it seems so cheesy. If that happens, you might be taking the thing a little too far.

For taglines (important for ads and quick-mentions), you need something catchy, but clear and concise, and something that will key into the main conflicts/themes.

For Strings Attached, I decided on this tagline:

Josie has always brought home strays. Only, this time the stray is an unwilling Australian.

The line is short, and, for romance readers, it has several big hints to the plot: Do-gooder woman and grouchy Australian (and Australian men are always sexy, even if grouchy) who resists her. It has a light-hearted, fuzzy feel to it. It also refers to home, a key theme in the book, and to stray dogs, which is a major symbol. It also eludes to the lonely rootlessness of Theo (the Australian), establishes Josie as the main character (being the one named), and informs the reader the book takes place on her turf. And, I hope, it gives the potential reader an interest in knowing more.

It also ties in to the "back cover" blurb for the book:

“You want to heal me, like one of your stray dogs...” 

When Canadian rancher Josie Sergeant gets a call from her brother announcing his impetuous decision to marry, she has her reservations. But, when her brother’s would-be brother-in-law swoops in from Australia to stop the wedding, Josie has no choice but to defend the family. 

Theo Sabich is bull-headed and dangerously sexy, but also damaged beyond repair… or so he thinks. He enjoys getting on Josie’s nerves, but when he finds her getting under his skin he must decide - face his demons and grab this last chance for happiness or bury himself in his lonely Outback ranch once and for all. 

Under the northern lights, their attraction ignites beyond their control, and Josie finds that a one-time “no strings attached” release of passion is easier said than done when love is hanging by a thread. 

But how will they bridge the difference between two worlds, let alone conquer the wounds of the past and find the courage to live again?

So, I guess I'm learning how to do them, but that doesn't make me like them any more than I did. However, doing blurbs and taglines, and summaries/synopsis, is just something you will always have to do as long as you publish - especially if you're self-publishing or with a small press. There are many forums out there where you can get advice from other writers on your blurbs, which can save you the costs of seeking professional help, but whichever way you go, it pays to have solid ways to explain your book to potential readers, publishers and reviewers.

Good luck!

The Business/Busyness of Submissions

These past few weeks, I have been terribly scattered. Busy, to say the least, but awfully scattered. Mostly, this has been due to Submissions. I have finally submitted my newest full length romance to a publisher. Will they accept it? I don't know. But it feels good to have it off my chest.

To recap, this is the book's history in brief:

• Written during NaNoWriMo 2010 - Winner! 54k written in about three weeks.
• Left to simmer until April 2011
• Re-read
• Edited; now at about 56k
• Decided that the nasty scenes I had originally planned but dropped because they were depressing really needed to be in there, so I re-wrote the ending in May 2011 - now at about 62k
• Re-read
• Write initial blurb and tagline; choose a title (finally!)
• Edited - now down to about 61k
• Sent to three betareaders
• Edited
• Sent to two more betareaders
• Edited
• Re-read
• Proofed - down to 60.5k
• Short synopsis (750 words) and first query written; longer synopsis (2 pages) also written (needed both long and short)
• Submitted to first publisher on list

That's a lot of work to pour into one book, but I have high hopes for this one. I feel like I've finally hit my stride... found my voice... in short, I feel like a real writer now. I think this book can do well, and I want to put equal effort into finding a publisher for it.

I have several publishers on my list for this book, but this first company seems to take the longest to reply, so I started with them. It takes significant time to make each query and submission, so I figured I'd give them the head start while I work on the next, and then the next. Next week, I will likely tackle another. And then another. 

So, why do queries and submissions drive writers crazy?

It takes a while to write and edit your submission materials, even aside from your manuscript. The query letter is your first impression, which is nerve wracking. And synopsis are basically hell on the nerves. To take a 60k book and turn it into 2-5 pages of bare-bones summary, while also making it engaging, charming and exciting... It's not easy, let's just say that. Every part of the submission - the cover email, query letter, character descriptions (if requested), the synopsis, etc - must be "pitch perfect" in order to make your book stand out!

First off, your cover letter needs to be informative, yet concise - a difficult balance to strike. Even more difficult, it also must give them some sense of individuality in a very short medium. Secondly, your query must entice them to read the synopsis. Thirdly, your synopsis must inspire them to read or ask for the full manuscript.

If any of these steps fail to engage, or to move the editor on to the next step, the book will be rejected - often, before the acquisition editor has even had a chance to open the MS!

For these submissions, all unsolicited and all unagented, I am fighting several tides. These publishers get tons and tons of competent submissions every week. Yes, they get some incompetent ones, as well, but the majority of the books they see are likely "okay." Therefore, they have the luxury of choosing only books that are well beyond "okay" levels.

This is different from the submissions I've had to Rebel Ink recently, such as the Halloween story I submitted on August 15th. Those stories are already contracted, so I'm not fighting to get my foot in the door. Obviously, I am still working towards having the quality up to standards, but they at least know who I am and are expecting the stories. These don't require the same level of pizzazz to get them to even read the thing.

This is why the "cold submits" are quite stressful.

While my betareaders enjoyed this book, I really have no way of knowing if these particular editors will find my book (as introduced by the letter and synopsis) more than okay. I can only hope my query and synopsis please whoever receives them. I can only hope the book is right for them, doesn't conflict with other books they are planning to release, etc, etc, etc - there are many, many more variables to being accepted/rejected than just, "We hated this book."

Therefore, this is why I've decided to go with more than one company for submission.

In the past, I have always just submitted to one publisher at a time, but this time I am doing a handful. It makes me feel weird - like I am cheating on one with the others. I decided to do it this way with the idea, "Well, if all or nearly all reject me, I need to cast a wide net." I never actually stopped to think what I will do if they all accept, until a friend asked me what happens in that event.

I am not too concerned, though. At this point, I'm not sure I can even hope for acceptance from them all.

All it takes is one, though.

*fingers crossed*

So, after you write your excellent query letter and breathtaking synopsis, and send it off to your choice companies (usually along with the full MS, or sample pages, or the first three chapters, or whatever they ask for - always follow their exact instructions, and tailor your submission package), what happens then?

Then, you wait...

And wait...

With some companies, if you never hear from them, that means they don't want it. With others, they actually take the time to send you a rejection, which is rather nice of them. Sometimes, they even give you feedback as to why they've rejected it, but this is a bonus. If your book had potential in their eyes, you might get a "rework and resubmit" invitation, which means they're willing to look at it again with some changes. Sometimes, you get an outright acceptance, which is the happy dance moment.

We'll see what we see. I have two or three other companies I will be submitting to before classes resume, and I have a list of about 12 to try, overall, between now and spring 2012. I have a good feeling it will be accepted by someone along the line - that it will reach the right editor at the right time, at the right company, who likes what I do.

If not, it's back to the drawing board, and in the meantime, I'm on to writing many other things.

Just keep moving forward, and hope for the best!

We Interrupt Your Scheduled Blog Post...

I was going to write about submissions today, but something else caught my attention several times this week, so I wanted to post a little on the subject of writer scams.

Writer scams are everywhere online - they predate the Internet, but have really exploded in recent years. Why do they work? Simple - when you are a new writer with plenty of dreams, it can feel really overwhelming to get your book out in front of people. Agents take forever, if you even get replies from them, and Big Publishers even longer, and most of us have little or no training/experience with publishing before we finish that first book/collection. And scammers know this, and they know how to talk to us in the right way to prey on those hopes and dreams.

Probably the premier, most famous form of writer scams would be vanity presses - those who promise "Become a Real Author!" (but only if you send them a cheque for $1200). Here's the skinny, folks - if it's a real publisher THEY PAY YOU, not the other way around. This is vastly different from Self Publishing, in which an author pays for services (cover art, editing, etc), but ultimately owns their own work. A vanity press really does nothing for your book but stroke your ego and take your money - lots of it. And they don't give it back. Now, with Amazon/KDP/CreateSpace, I hope we are hearing the dying howl of the vanity presses, but it's not likely. Many more aspiring authors will fall to them before they go away, sadly.

And now with the rise of agents who "facilitate" self-publishing, there might be a whole new racket for vanity press scammers. This is not to say that all agents who handle self-pubbing are crooks, but any day now we'll start seeing the crooks move that way, if they haven't already.

The Rule is: Except for putting together a self-publishing project, the author's only dealings with cheques should be signing the back of their royalties.

The second big one is Contests! Yes, there are many, many legitimate writing contests out there, with real prizes and good exposure. Some, like the RWA, do charge writers to enter. (I personally don't pay to enter contests, but paid contests might not be scams, so just do your research.) However, not all contests are legitimate. If it's a free contest, you don't stand to lose much but time, but please save yourself the hassle of entering fake/worthless contests with hefty entrance fees. Also, in many regions, it is illegal to force entrants to "buy the finalists' collection" at the end of a poetry or short story contest. Such things are scams, where they basically let everyone become a finalist so more people will be forced to buy the resulting collection. Do the leg work! Research the contest before you get excited.

Third, there are the newer vultures circling the small press/indie world: Book reviewers who are also editors. Now, naturally, many reviewers also offer editing services, and not all are scams. What I mean are book reviewers who offer to review your book (especially a self-pubbed one) merely so they can tell you it stinks - but, don't worry! "I can edit it for you for $1000!" That's the scam part. I believe many reputable editors who also do reviews make it policy not to take editing jobs from the authors they have reviewed, and vice versa. The reviewer may very well suggest you need an editor, but they are often careful to suggest OTHER editors, instead of themselves. Otherwise, it's a bit of a conflict of interest, don't you think?

Most legitimate editors allow a sampling process - you send them a sample, and they will edit it and return it, before you engage them. If you go this route, it might be a good idea to send the same sample to several editors, and compare the returned work before making a selection. And, in my opinion, accept a reviewers' suggestion that you need editing, but don't hire that reviewer to do it. Sample a few others, and then decide which way to go. As always: Author word-of-mouth is a great way to find what you need, and it's the safest way.

Then, on top of these sly jobs, we also have the occasional rumour/allegation of truly shocking instances of out-n-out extortion. There are also people burned outright by paying upfront for covers that never come, or editors that never deliver.

The above categories cover the majority of the pitfalls out there; some are ubiquitous, while others a bit less common. There are many other ways a newbie writer can lose buckets of money/time/hope/energy/reputation - ghost town sites/blogs charging for ad space, reviewers demanding payment for their condescension, display sites that charge you for profiles that no one ever visits, small pubs who are basically beards for one author's self-publishing activities, etc, etc, but those aren't truly "scams" in that they are offering some type of service, at least, and you get exactly what they promise (even if it is lackluster). And you should know what you're getting into before you hand over the money or your manuscript (always).

The Internet is a wonderful thing for the global writers' community - it brings us closer than ever before, allows for multiple genre circles to form and disseminate information very quickly, and evens the communication exchange between experienced writers and aspiring authors. But it also contains snakes of all varieties. Use it wisely - arm yourself with information, do your research, and treat your name, money and manuscript like the precious resources that they are.

So, that's my little PSA for today.

It's a jungle out there! Good luck.

Child Characters in Romantic Fiction

I was reading a HQ SuperRomance a couple of days ago that dredged up one of my pet peeves.

I can't stand it when children are more like props than actual characters. Yes, occasionally they talk, but when they are just "Generic Girl Child Aged 3" it looks like no effort is put into making them real people. They weave in and out of the story only when needed - usually only as a source of conflict for either party as they anguish over having a "readymade family" to deal with. The main characters are very seldom home, with the child in any convenient care (daycare, with the neighbours, etc) - some books don't even bother to explain who is watching the child while Main Character 1 and Main Character 2 are off having their passionate picnic. (What parent goes on a daytime picnic in a pretty park without at least wondering if they should bring their child?) The absolute worst: When they are merely written into the book so they can sustain some major medical trauma for the purpose of bringing the parties back together again, having never attained more than prop status throughout the book. That last one kind of disgusts me.

Now, I have also seen some great romance novels where the child acts/seems like a real kid, and the parent-character actually thinks/speaks of the child once and a while when s/he is not directly involved in the scene. I have seen some great books that allow the child to interact with one or the other main character directly; where they have a scene alone together instead of the child just wandering in the room during important "grown up plot talk." Some books give the child character some development, which is hard to do with any secondary character and really rewarding for the reader. I have even seen some who allow the child a POV scene or two!

I am a mom who is parenting a 3 year-old on my own at the moment - I just can't handle novels that relegate the child to the status of a desk chair. I know my son has a very distinct personality - he acts and talks in an idiosyncratic way, the same as adults do. I also know that most mothers and fathers think/talk about their child a lot.

Now, I know none of us wants to read pages and pages of parents bragging/fretting over their kid, but I really do appreciate it when writers make me believe the child, and the family unit, is real.

Please stop using child characters as mere props. A child is not a potted plant. That child character some writers ignore would likely be the center of the main character's world - that is not an issue you can ignore and still maintain realism. Okay, I admit this view is largely based on a very personal understanding of parenting, but it's one reader's opinion, and I am willing to bet I'm not the only one.

Betareaders are the Alpha and Omega of Publishing

I wonder if the Big Writers still use betareaders? You know, I bet they do, even if it's their husband, or aunt Tilly, or another writer buddy. But, one thing for sure, when you are an indie and/or impoverished writer, betareaders are not only your best friend - they are essential to your livelihood in publishing.

So, what is a betareader? Even if you have never heard of a betareader, or possibly a "test reader" or "test audience," dollars to donuts you've benefited from one if you have ever read a book.

A betareader is one of the first people a writer gets to read their draft, after they are semi-okay with it themselves. These test readers have a tough job, because it's not just reading - it's critiquing, giving feedback, answering/asking questions about the work, finding plot holes, exposing bad writing, pointing out flaws, and occasionally giving emergency mental health counseling to authors at the point of jumping out windows trying to weed these issues out. It's a big job, and one that is very rarely compensated enough.

Some betareaders are just voracious readers. Some are writers, within and without the same genre as the book. Some are editors or proofers for their day job (though that is a different stage than betareading). Some are pros, and most are volunteers.

The important thing is that they represent the readers who will eventually (one hopes) plunk down hard earned cash for the book that the writer ultimately produces.

Thus, betareaders do three major tasks: (1) They help the writer produce a much, much, much better draft for submission (which, obviously, makes for a better book altogether). (2) Their feedback helps the writer become a better writer over time, by helping them identify weak spots when writing the next one and hone editing/revision skills. (3) They help protect future readers from frustrations - inadvertently paying for a book with errors, confusing motivations, plot inconsistencies, inaccuracies, obnoxious writing habits, etc.

If you let your betareaders be free and frank with you, and you listen to them well, they tell you if what you have produced is worth the confidence a reader places in you when they exchange their money for your book. Or, they will help you find a way to get the book into that exalted state.

In essence, with the much-toted decline of "traditional publishers" and the rise of "indie authors" (which is not a subject I will touch here with a ten foot pole), betareaders are an increasingly crucial part of the restructured "gate keepers" of literature. Certainly, those of us (still?) publishing with actual companies will have editors and line readers, and any indie author dedicated to producing quality work will hire an independent editor/proofer, but these people do not replace the betareader.

The betareaders, the acquisition editors, the substance editor(s), the line readers and the proofers all do separate, though essential, work, just as none of them can replace the writer's own editing phases and vice versa. Besides, without honest and alert betareaders, chances are the book won't ever make it past the acquisitions editors to the contract/editing/proofing phases, anyway.

On top of this, betareaders are usually a different thing from critters, as well - "critters" (AKA "critique circles") being your fellow writers who only read/hear bits and pieces as you write for critique purposes, in exchange for critiques of their own work. This is also a valuable asset, but no replacement for a total betareading experience, though your betareading pool can include some critters. Is this making any sense?

So, to break this down - the writer produces a draft (or drafts of chapters, though I usually wait until the whole thing at once), and edits, sometimes with the help of critters along the way. When he or she simply can't look at it any more, it goes off to the betareaders. They (I try to go for three) read it. Their focus will depend on their interests and personalities - some will look at the writing mechanics more than the plot, while others like to think about the characters or the bigger picture. It's great to have a mixture of all these. When they are finished reading it, they will send you their Notes, and, if you are lucky, will let you pelt them with questions about the book. The writer will then crawl back to their revisions cave and try to fix the flaws picked out like magic by the intrepid betareaders. Then, depending on how severe the problems were, the book might be sent back to betareading again - either with the same readers or fresh ones. Then the writer does those revisions, and then usually will do another editing phase him/herself, and maybe set it aside for a bit, and do another one. Then the book goes through acquisition editing, which (with luck) results in a contract offer. Then it goes through substantive editing, line editing, and proofing, resulting in many more revision rounds. Then, if the writer is anal, they might get one more betareading in on the galley before they sign off, just to catch anything floating around in the book, and do one more read through themselves.

And, voila! Then you have a book ready for the market - and the resulting customer and professional reviewers. But, by the time you get their feedback it is often too late. The problems they find can certainly help for your next book, but you had better make sure you had solid betareaders and editors to make it as good as possible before it reaches the live audience.

Who are my betareaders? I have some very lovely volunteers. For the new book, I have Beth, a writer and reader; Amanda, an artist and essayist; and Trishy, a reader and grammar hound. They do wonderful work, and I appreciate them so very much. It's best to have a pool of betareaders so as to not exhaust the good will of your favourites (I am always taking "applications," by the way), but when you find a solid betareader, they are worth their weight in gold.

This is my ode to the betareaders. If you are an author, you likely already knew how valuable they are. If you are a reader, or not yet published, I hope you take a moment while enjoying a good book to offer a little silent thanks to these folks. They are a foundational part of making every novel its best, and a line of defense against bad writing.

Hats off to the betareaders!

Editing Demon #1: Show, don't Tell!

This week, I have been doing a confessional postmortem in the wake of my editing and re-writing battle to smooth out my NaNo novel for the betareaders. On Monday, I looked at "passive voice," which I am wrestling down, and on Wednesday, I looked at "head hopping," which I have made good progress with.

Today, in the final installment, we have perhaps one of the hardest editing shore - "telling instead of showing."

What is it? To be honest, I am still unclear what this little accusation means. I know it is a dreadful habit, but as much as I have read about it, it's all still very fuzzy for me. I know the clinical definition usually describes a bad writing habit in which the writer announces actions or states, without making the reader feel/see them for themselves. However, in general, it is something that I can only really understand when I see it.

So, an example: If I told you "She was very hungry," that wouldn't be as evocative as saying, "Her stomach groaned in protest after missing lunch." The first, while clear, concise and true, is not as descriptive as the second. Yet, the second allows the reader to know what is going on without the author stepping in and telling them what s/he wants them to see.

Another example: "His cat is very smart." This is quite bland, lacks evidence, and represents the author's voice telling the reader something s/he believes, rather than describing things that would allow the reader to draw the required conclusion. In short, it tells rather than shows. Instead, try this: "His cat does his taxes and runs a small online yarn supply store in his spare time."

As you can see, the first sentence there tells you something, but the second one gives you information that would certainly allow you to draw the same conclusion, but for yourself. This is preferable for obvious reasons - especially since the second sentence is a lot more interesting than the first.

I am pleased that this is not a problem my editors have called me on a lot in the past. Naturally, it has come up a few times, but I wouldn't call it a chronic concern (I hope!). Still, I am paranoid about it, though, because it is not something I mentally screen for by nature. It is an easy error to make when you are the author and you know what the reader is meant to get from every bit of text. It is also easy to tell instead of show when you are trying to avoid overly purple prose.

You see, the main is issue is that "showing" instead of "telling" constantly would conflict with one of the major commandments of clear writing: Say as much as possible with as few words as needed. Showing is not as efficient as telling, that is for sure, so you are left with the need to balance the need to show and the need to keep your writing clean and well-groomed. Therefore, the dreaded "show, don't tell!" remark is a giant pain in the butt if you are worried about "omit needless words" comment.

The Scylla and Charybdis of writing fiction, if you will.

***

There are exemptions to the rule, naturally, and places where telling is preferable to showing. Showing everything, all the time, in a story would not be a good idea, since this would lead to a gargantuan manuscript, as well as a book that leaves both you and the reader exhausted. Further, the most practical use of telling over showing is when you want to skip a passage of time to get to a more crucial scene. Not every detail is essential to the story's meaning or to the reader's experience. Those unessential bits are where merely telling is useful, so you can move along to the important parts.

However, this should be done consciously and directly. Accidental telling where showing would be better needs to be in control, and slips need to be pointed out by a qualified editor of fiction.

I have no quick fixes for this pitfall, really. It is something that can only be really helped in your training and practice. It can be fixed in editing, by re-reading and re-writing lines until they as descriptive as you need, as well as concise as possible. However, I think the best way to remedy the tendency to tell instead of show is to practice your writing and be mindful of what you are doing, the entire time you are writing: can what you are saying be better shown than told? Sadly, that is not a quick fix.

But there are "tricks" that you can use to make your writing show instead of tell. The first is to use figurative and illustrative examples, instead of direct assertions. For example, instead of "Jim was attracted to Steve," you can say, "Whenever he was around Steve, Jim's heart would race." The reader can draw the conclusion of attraction from that, I should think. The second trick would be to put things in evocative dialogue instead of in declarative lines. Finally, the most common rule-of-thumb in editing is to be on the lookout for "was" and "is" - these are often markers of sentences that tell instead of show. However, even these are not hard rules, and nothing can replace a careful reading.

Remember: Showing instead of telling is the best way to show people you are a good writer, as opposed to just telling them you are. If your writing draws them in, they will know you are a good writer without needing to be told. We can all agree, this is a much more convincing way for them to learn of your talent.

***

And there you have some of the phases that I go through in editing. It may not make for thrilling reading, but I feel better having itemized my tasks. I am hopeful that this new novel will be my best yet, as long as I badger myself into editing carefully and ruthlessly. And this is a task well served by making a clear list of problems in my head as I enter the post-betareading revision, in preparation for submission of the manuscript.

Writing is a craft, and one is always able to improve and hone. Writing is only improved through extensive reading and writing, accompanied by useful discussion of the craft itself. Visualization and honest assessment is crucial to this progress.

I don't know if this little series has helped you at all, but it has me. Thanks!

Editing Demon #2: "Head Hopping"

This is the second of my series of three deep-dark-confessions about my editing weaknesses. These are the major issues that I am always working on throughout every story, and for which I have to make specific editing rounds. The theme this week is editing, because I just spent two weeks in editing/re-writing Hades with ye old NaNo manuscript, which is now off to the initial betareaders (see more about betareaders here next week).

The second is a tendency to "head hop."

Definition: "Head Hopping" is a term used by book folk, editors, writers and reviewers to refer to unexplained and confusing shifts in POV during a scene. I.e., chapter starts in the hero's POV and slips into heroine's POV without a section break, and back again. This also includes "vanity/expressions perspective" (where the character that is serving as our eyes inexplicably knows what s/he is looking like at that moment, or unrealistically thinks of their nose as "cute" or similar).

The Problem: If a scene is in one character's POV, the reader should see everything as that character sees it - what s/he knows, sees, feels, etc. If POV slips happen too erratically, it can make the writing seem disjointed and hard to follow. The events and timing seems jumbled. And, worse, it leads to authorial interference, and can take the reader out of the story and make them feel disconnected from the scene.

The Allure: Both characters have so many thoughts and feelings, and head hoping allows you to describe both characters from the outside and give internal dialogue for each, i.e. "what they really mean when they said such-n-such aloud." Besides, I'm the author - I know what they are all thinking!

The Fix: This was a problem that was really big in my first couple of manuscripts, because I didn't realize it was a problem. In old romances, they head hopped all the time, and those were the stories I cut my teeth on. Nowadays, though, it is passe, and my editors have been good at spotting it and teaching me not to do it. Now, I include the planned POV for each scene in the outline for each chapter, so I know which character will be my eyes. This has helped eliminate the good majority of my head hopping. Other than that, a very thorough read-through is the best way to clip out the bits that escape through the outline.

***

Need an illustrative example?

Head Hopping Passage (pre-editing):

Once, the pair even literally ran into each other at the mailboxes, when she came barging into the small space as he turned to stride out. Neither had noticed each other until their torsos had collided. Instinctively, he brought his glove-clad hands up to her fleece-covered arms to steady her, and she noticed again the attractive scent of sandalwood. He detected the slight tinge of cinnamon on her breath as she puffed in surprise, and for a moment all thought fled from his brain as he stared into wide, hazel eyes, fringed with impossibly dark lashes.

He couldn't remember the last time his mind was completely blank while working on a book, but at that moment, he would have been hard pressed to recall his own name.

"Steady on," he murmured, realizing he should say something.

"Hi," she breathed, simply, and, almost reluctantly, made to move past him.

Her flat mate Colby, in their infrequent discussions of the other inmates of the building, had dismissed Kale McKinnon as "weird and old," but right then Molly saw him as nothing like old or weird. True, he had some eccentric qualities, but at that moment, his oddities were more intriguing than anything else. And no one who felt so firm and vital could be considered old. Her heartbeat, at least, rapped out a tattoo that told her she was in the presence of vibrant maleness, a feeling to which she was not normally prone.

"Hi again," he said, softly, taking unfamiliar pleasure in her pretty blush.

Molly stood aside and let him pass, and watched as he exited the building. If she were more like Colby, she thought, she would say he had a "great butt," and smiled impishly at the thought. But, no - she was just Molly, and she didn't have those kinds of thoughts about men she barely knew.

Even though it was true.

Same Scene (post-editing):

Once, the pair even literally ran into each other at the mailboxes, when Molly came barging into the small space just as Kale turned to stride out. Neither had noticed each other until their torsos had collided. Instinctively, he brought his glove-clad hands up to her fleece-covered arms to support her. He detected a slight tinge of cinnamon on her breath as she puffed in surprise, and all thoughts fled from his brain as he stared into wide, hazel eyes, fringed with impossibly dark lashes.

He couldn't remember the last time his mind was completely blank while working on a book, but at that moment he would have been hard pressed to recall his own name.

“Steady on,” he murmured, when he realized he should say something.

“Hi,” she breathed, simply and shyly.

“Hi, again,” he said, softly, taking unfamiliar pleasure in her pretty blush, but finally forced himself past her her to the door.

*break*

She stood aside and watched as he exited the building. Her flatmate, Colby, in their infrequent discussions of the other inmates of the building, had dismissed Kale McKinnon as weird and old. However, right then, Molly saw him as nothing like that. True, he had some eccentric qualities, yet to her, his oddities were more intriguing than anything else. And no one who felt so firm and vital could be considered old. Around him, her heart rapped out a tattoo that told her she was in the presence of vibrant maleness—a feeling to which she was not normally prone.

To Molly, he was sexy, if in an unconventional way. If she were more like Colby, she would say he had a great butt. She smiled impishly at the observation. But, no, she was just herself, and she didn't notice those kinds of things about men she barely knew.

Even though it was true.

(Scenes are both from my Christmas romance novella Unwrapping Scrooge, with thanks to my wonderful editors at Decadent.)

When I first made these changes, it seemed clunky to me to separate the two perspectives. But, I was thinking like the author and not considering the reader. Luckily, I trusted my editors!

***

There are always exceptions!

I try to employ my right to artistic licence very sparingly. I like to trust my editors, as they are less attached to the draft than I am. However, one of the little "quirks" I enjoy in my works is a montage scene that is used to build chemistry and intimacy, as if the melding perspectives mirror the growing couplehood. In this brief scene, the passage of time is denoted by overlapping POV, as well.

Example (also from Unwrapping Scrooge):

As the weeks passed, they talked of many things. They chatted about writing and how his work was going, and about her thesis, and about England and Canada. She told him about her mother's breast cancer, and their constant fear of its return until the five-year remission mark passed this winter. He was silent on the subject of family, which spoke volumes to her. And both felt quiet sympathy for the other. They found themselves developing a friendship neither had expected to find. He found her incredibly intelligent, and she discovered his rudeness was not his normal state, but that he was actually quite amusing when he allowed himself to be. And both also found themselves more and more attracted to the other as the days progressed.

Kale was surprised he had ever thought her plain now, and she wondered why Colby wasn’t able to see how fascinating his mouth was. One morning, she found his dressing gown hung on the inside of the bathroom door and had stroked its plush softness, allowing the scent of him to invade her. She enjoyed the tingling restlessness that pooled deep in her belly until she reminded herself that she was acting like a stalker again and hurriedly left the room. He often found his disobedient eyes travelling the length of her, basking in the sight of her lush curves, only to gather up the last ragged remains of his self-control and return to whatever menial task she had set for him.

And in this way they continued, trying to convince themselves there was no harm in a platonic friendship that was destined to go nowhere and be no more consequential than a few weeks of breakfasts. Soon after the New Year, Mrs. McCardle would return, and there would be no pretense left for them to meet, and then, a few months after that, Molly would return across the ocean, and their brief flirtation would be a warm memory, if that.

But for now, both walked around in a fog fueled by fantasy that neither was really willing or able to acknowledge, but which amused Colby and Byron enormously.

This passage is the only intentional violation of the anti-head-hopping convention in the book. It occurs at an "act break" just as their relationship changes direction, and sums up about a month of interaction in a few brief paragraphs. The characters are such opposites, I felt this was a risky move that could pay off by fostering a more realistic sense of growing together.

It is aggressively authorial, and likely isn't to everyone's tastes. For me, however, I like the cozy feeling of montage passages so much that it is worth taking the hit from the editors. That's my treat as a reader of my own work, in a way.

Luckily, this book has still done fairly well with reviewers and readers, despite this indulgence!

***

So, through editing and working on my craft under the watchful eyes of experienced readers/editors, and by paying attention to reviewer reactions, I am in recovery for my head hopping addiction, and have a greater control over my perspective - but it is still something I have to be conscious of.

The point of writing (at least in genre fiction) is to make the book a pleasant experience for the fans of that genre, and to communicate clearly. Being mindful of writing habits that make reading more difficult is an important step towards publishing.

Naturally, different writers and different forms of writing will have different needs and conventions, so YMMV!

***

So, the quick fix list:

1. Recognize the problem and why it is a problem.
2. Outline/plan/consider which character POV will be the eyes for the scene before hand and stick to it as much as possible.
3. Re-read in the draft stage for head hops or vanity adjectives, and clip the slips out.
4. If a passage cannot be merely clipped, move it to a new section (to the correct POV) or make it out right dialogue.
5. If need be, cut the scene into sections with a section break, and tell the same scene from the two different POVs - but this should be used sparingly.
6. Only head hop when you are consciously using your artistic license. Accidental head hopping should be scoured out by a qualified editor and good readers.

***

"So, good luck," he said, thinking she was nuts for all this.
"Thanks," she muttered, knowing he thought she was nuts.

Editing Demon #3: The Passive Voice

This is the first in a series of three posts about my major editing needs - the three bad habits that follow me from WIP to WIP, that I have to consciously read for in editing, and which my editors still inevitably have to smack me for. I am working on them, but bad habits are hard to break - especially when, half the time, you don't realize you are doing them, and your grasp on how/why you are wrong is hazy at best because they feel so natural to you.

The first is the compulsive use of the passive voice/tense.

Definition: When you place the object of an action in a sentence as the subject of the sentence.

The Problem: While passive is not always a grammatical error, it is a less energetic way of phrasing activities - it is also a lot less clear, concise and attractive. It also denotes a lazy writer and a lack of careful authorial attention, which is not a good image to give your readers!

The Allure: Passive sounds so dang fancy! I have a very bad impulse to pretend that I am Jane Austen when I write, which generally leads to an over-abundance of antiquated sentences and convoluted constructions. While Jane Austen was a master of the narrative and characterization, there are much better gurus to look to for grammar and editing inspiration. (I love the passive verb clauses, as you can see in this post.)

The Fix: Round upon round of editing until I weed the little buggers out and clean up all that sloppy, purple prose! With the passive, recognizing I have a problem is half the battle, and nothing can be done but re-reading and tweaking. Sadly, auto-check can't really be relied upon (or, I guess I should say, auto-check is not reliable...?). The only thing to be done is to edit it by hand with an eye towards active rather than passive. sigh.

Still not sure what the problem is?

If you are still confused, I feel your pain. I don't always recognize the passive as problematic, either, when I am reading. It has only been a serious of resounding "No! Bad Writer! Bad!" corrections from editors that has forced me to read specifically for the passive.

Perhaps a common example will help...

The road was crossed by the chicken.

Naturally, we know this sounds weird. We usually say this as "The chicken crossed the road."

Why? Because placing the doer instead of the object of the action in the driver's seat of the sentence is a much more engaging and clean way to say it. Putting the horse in front of the cart, if you will.

Another example:

After she was shoved down, Suzy cried.

This sentence fails to tell us who shoved Suzy down, as it is missing the doer. "Tommy shoved Suzy down, making her cry" is better.

Try this one:

These truths are held by us to be self-evident...

That certainly lacks the sparkle of "We hold these truths to be self-evident" doesn't it?

Exceptions to every rule...

Sometimes, the passive is not only perfectly fine, but preferable, making it even harder to edit for them.

For example:

Baby Kate was born at 8pm today!

Clearly, Baby Kate is the star of that sentence, and there is no one else that need be mentioned as important as her. "Dr Phil Winthrop delivered Baby Kate today..." is not only needless but a lot less interesting. Even Dr Winthrop would likely agree that he's much less important than Baby Kate at her own birth.

This is what Strunk and White say:

The need of making a particular word the subject of the sentence will often... determine which voice (active or passive) is to be used.

However, the section on "Use the Active Voice" ends with a typical Strunkian assertion to "omit needless words," reminding us that:

...Brevity is a by-product of vigor.

And so it is.

***

There are many much better explanations and discussions about the passive online, so I won't go on. But, suffice it to say, this is a problem with which I continue to struggle, though I am improving. My early writing would likely make me cringe with all the passives, but I am seeing fewer and fewer of them all the time, except where the sentence demands it. I keep several how-tos bookmarked for easy reference during editing, so I can keep my mind on track.

The quick trick:

1) Re-read with an eye to subjects and objects.

2) Consider the meaning and where the emphasis needs to be.

3) Revise to make sure the correct thing/person is driving the sentence.

4) Repeat again and again until you are sick of the term "passive voice."

Good luck is wished... I mean, I wish you good luck!

5 Thing I've Learned Since I Entered the Writing World, By Kathleen Ann Gallagher

I am an upcoming author for Decadent Publishing. My paranormal romance, Echoes At Dawn will be coming soon. I hope you stop over and check out Decadent's website. I'm sure you'll find it a worthwhile visit.

I have been writing since I was a young girl, but stopped to have a family, and pursue a career in nursing. Five years ago, I got the writing bug again. I've learned so much, since becoming serious about my writing. These things are only my opinions.

1. Commit to write everyday.

When I began this adventure of writing seriously, I had no idea what to expect, or how to begin. All I knew was that I had an idea for a story and a plan to write everyday. Since I work full-time, I knew I couldn't commit to many hours daily, but I made an agreement with a co-worker to write for an hour each day. We both had an interest in writing fiction, and we each had a premise in the back of our minds. I recall scribbling down the first few lines and showing them to her one day at work. We shook hands on our promise, and started on a journey to complete our first manuscript. In the beginning, I started slow. When I got into the middle of the story, I typed faster, and the story took off. My desire to write became a need to write. If there is no commitment, there is no manuscript. A completed work of fiction will not appear on its own. You have to do the work. It is not easy, but if you ask another writer, they will tell you how miserable they feel, when they do not write for a few days. Writing becomes part of who you are, and your characters need you to help them get from point A to point B.

2. Don't submit too early.

I made the mistake of submitting before I was ready, and lost many wonderful opportunities. I tried to hurry the process along, and it does not happen that way. You must do the work required, before an agent, editor, or publishing house will make you an offer. If you are serious about your writing, there are many wonderful organizations that offer support, knowledge, and an opportunity to network with other writers. There are also editing services and for a fee, you can get an idea if your manuscript is worth working on, and where you need to improve. If you take your time, it will show in the final product. Even if you studied grammar in school, completing a manuscript that is marketable takes time. You may have read stories about authors who get a deal with a top agent or publisher on their first novel. It might happen, nothing is impossible, but be realistic, and get information.

3. Learn how to accept rejection.

Rejection is not an easy thing to face. It takes a toll on even the most confident writer. However, it happens to the best of us. When I got rejected, and I sure did, I became tougher each time. At first, I took it very personal. It felt like an attack on my work and talent. I learned to read it carefully with an open mind, and try to absorb the message, if any. Sometimes you will get a form rejection, which can be cold and make you feel like you got a slap in the face, but it's not. If you're lucky, you will get a comment, or remark that explains why they are rejecting you, and a few lines offering encouragement. If that happens, value it, and take it for what it's worth. Move forward and learn from rejection. Don't give up.

4. Be kind and courteous.

Writing is a business, and it is essential to be professional at all time. If you attend a meeting or conference, try not to gossip. Be friendly and open to meeting new people. You never know when you will be working on the same team with someone. Everyone has different views, so listen without judging. We are all in this together. A kind word goes a long way, but a bad comment can come back to you and put you in a negative place as a writer.

5. Take a break when you are overwhelmed.

I have been working on edits, and as some of you know, first edits can be challenging. I would suggest working a few hours each day, with breaks in between. When you are tired, your creative energy stops. You must allow yourself a rest period, and something healthy to eat. My brain does not work, when I'm hungry. If I read something else for a while, or listen to music, a new idea will come to me. It is a great to watch a movie, too. Sometimes it is exactly what you need to help you get back on track. Going to bed early is not a bad idea, either. If only I could follow my own advice.

Thanks Anne, for having me as a guest on your blog today.

You can find me at:
http://kathleensplacetoreflect.blogspot.com/
http://kathleenanngallagher.net/Home.html

Author Leanne Dyck on "Writing and Submitting"

Part II of Leanne's writing adventure...

~*~

Knowledge gleaned from a writers’ magazine: a writer’s job is to write and submit.

Sounds simple. Until you concern: Write what? Submit where?

***

In my teens I was seduced by two passions –knitting and writing.

Writing about knitting intrigued me. In 2005, I began writing knitting-related short stories, flash fiction and poems.

Rebellion

A small group of mothers gather in a kitchen to drink coffee and chat.

Cindy starts, “He stays out all night. Who knows where he goes.”

:Linda shares, “She listens to that rap music garbage. Loud. It breaks my eardrums
and I’m downstairs.”

Michelle joins in, “He is disrespectful. He calls me an ‘old cow’ and worse. His teachers all tell me he doesn’t listen, but what can I do?”

Ann adds, “First she got her ears pierced, then her nose. Now she has piercings and tattoos all over the bloody place. She even shaved her head. When I say anything she says, ‘It’s my body.’ I have no say. No say.”

Then it’s Rebecca’s turn. “My daughter knits.”

Silence.

Then the room explodes with laughter.

“Yeah, I thought the same thing. I thought ‘a mother’s joy a knitter’. I thought we would sail through the teenage years. No problem at all. Then I started noticing what she was knitting. Let’s just say no yarn manufacturer was getting rich off her.

“I told her she was sending the wrong message. I told her that guys would think she was slut, but what does Mom know?”

She is answered by a chorus of “Nothing.”

“Guess what I’m knitting? Come on guess.” She pulls a baby pink something out of her purse. “A baby blanket. Aren’t you going to congratulate me? I’m going to be a Grandma.”

To attract surfers to my knitwear designer web site –www.oknitting.com –I added a blog to my homepage. On the blog I shared news, views, tips. Occasionally, I also posted one of my stories or poems. Wow, was I surprised when I realized these pieces received the most hits.

Inspired I wrote more and soon had enough to fill an 80-minute audio book. I self-published Novelty Yarn in August 2006.

Here’s a review:

‘Novelty Yarn contains a collection of small, tasty morsels that will continue to surprise you right up until the last bite… Ranging from childhood memories about 4-H knitting and lessons from Grandma to night dreams about wild women knitting in the forest, each segment evokes a different mood. Many of the stories made me laugh out loud, while others made me pause…to meditate for a few minutes. The stories are separated by brief interludes of acoustic guitar music… The guitar intervals are just long enough to let your mind rest between the stories. The sensation is like cleansing your palette after sampling each vintage at a wine tasting. The total experience was delicious.”

-Donna Druchunas (The Knitted Rug, Artic Lace)

I did receive a negative review. The main complaint was that the stories weren’t long enough.

Interestingly, I had begun writing what promised to be a longer piece – The Sweater Curse. Emboldened I rolled up my sleeves and invested more time crafting it.

As I wrote, I read the work of other knitting-inspired authors. I found cute stories about nice knitters.

“We’re not all nice!” I screamed. Did you hear me? My main character Gwen Bjarnson did and she agreed.

All writers work at their own pace and in their own way. It was during this time that I discovered what worked for me. What I like to do is write and complete shorter pieces while I tackle something longer. That’s what I did while I wrote The Sweater Curse. Among other projects, I wrote articles for knitting magazines. I gained validation when I received my first cheque for writing one these articles.

Month after month, year after year, I returned to The Sweater Curse. Until, one fateful day, I dotted the last ‘i’ and crossed the last ‘t’.

Now what?

I contacted the editor I’d worked with on Maynely A Mystery. I was confident that she would tell me if The Sweater Curse sucked. She liked it and agreed to proof it in preparation for submission.

I’d answered the question: what to write?

Now, I needed to address: where to submit?

Unlike Maynely A Mystery that was developed for a small audience, I felt The Sweater Curse would have a wider appeal.

In my search, I left no rock unturned. I contacted literary agents and book publishers. My desire to network with other writers, led me to the Romance Angel chat group. It was here that I found the new epublisher Decadent Publishing.

I visited www.decadentpublishing.com and carefully read their submission guidelines. I spent days polishing my synopsis. I sought the help of fellow authors – they were generous with their helpful feedback.

Finally, I took a breath, crossed my fingers and hit send.

Shortly after, waiting in my inbox, was an email from Decadent Publishing.

I was apprehensive. I was certain it was another rejection. I braced myself and opened the email. I skimmed the contents looking for the familiar wording. Instead I found ‘will contract’. I re-read it. I asked my husband to read it aloud.

Acceptance, sweet, acceptance, they wanted my story.

I can’t say enough positive things about Decadent. They are a new author incubator. Wrapped in a cocoon of positive energy, I have greatly benefit from my involvement with them.

My journey as a writer has just begun. My dream is to continue to write and submit.

***
Leanne Dyck's novel The Sweater Curse will be released from Decadent Publishing on January 10! Congrats, Leanne!

Gentle Muses

I have many muses. Not the Greek kind that run around in the clouds strumming harps at you - that stuff I just call inspiration, and keep the credit for myself, thanks. Instead, I am talking about the muses that are more like models for my characters.

When I am working in a project knee-deep, I like to keep it on my front burner at all times, so I don't lose the flow. The way I do this is to tie all of my leisure activities together with a muse, who serves as a model for my current work.

Usually, this is an actor who reminds me of the looks and essential character of my male lead (the male character muse is because, most of the time, I am my own muse for the female character to some extent). Sometimes it takes more than one muse to get the complete picture, but usually it's one at a time, who, combined with my own memory and imagination, facilitates me building a fully fleshed (ahem) romantic hero.

Thus, when I am writing, all time spent not writing is spent communing with this muse. I read only books that have similar characters (though I don't read a lot when in the middle of a writing crunch), and I try to get my hands on the chosen actors' works, and watch them when I am taking breaks. The end result is that my imagination is constantly firing with ways to describe certain things, even in my down time.

This is one way I manage to produce as quickly as I do - it's not that I copy anything, just that I use various entertainments to give myself "working breaks" that make my writing time more productive. It also keeps me from getting distracted by other characters who might be bumping around in my head at the time, and helps me clear out the last muse to make room for the next.

I am not sure if anyone can recognize my muses in my works - I would be interested to hear any guesses, though. Surely, by the time they hit my pages, they are mere shadows of my impressions of fake screen personae, so they are well and truly removed from anything resembling reality by the time you read them.

But there's a little tip from me to you on how to create a world in your head and keep it bubbling between writing sessions. Let me know if it works for you, or if you have any tips to share... Or if you care to guess on any of my published muses. ;)

Happy writing!

Romancing Historical Details

Today, we have a guest blog from historical romance author Jackie M. Smith, on the joys of research and the importance of understanding your time period for quality writing.

When I first researched for my historical romance A Soldier’s Vow, I discovered so many interesting facts about the French country during one of the most terrifying periods in their long history. The German army had easily invaded the Northern part of France and often bombarded Paris but never succeeded in penetrating the city’s walls. Nonetheless, the city had been hit in other different and equally devastating ways.

Blackouts, food shortages and influenza affected everyone. Through my research, I discovered many families could no longer afford to keep their children fed, therefore they sent the weakest members of their family to their relatives in the country or other safer places. In A Soldier’s Vow, I wanted to show how the heroine Winnie Douglas saw and lived what everyone went through between 1914 and 1918 Paris. I also show how the war affected the women who stayed behind and waited for their husband, brother, cousin who joined the war effort.

The war also changed the soldiers who fought and saw firsthand the horrors and victories of war. Henry Whitfield, the hero in A Soldier’s Vow, had no idea what he would see and experience when he left his Canadian hometown. Many countries including Canada sent their strongest and bravest men overseas and fight an unknown enemy. They trained hard and fought even harder. Yet what waited for them in the trenches became their worst enemy. Rats, lice and other diseases caused the most terrible living conditions for every soldier on both sides.

Using such details in my book not only creates a setting but also brings the reader back to a time of turmoil, courage and undying love.

So, how do you approach researching your time period?

~*~
Jackie M. Smith is a Canadian novelist who currently writes historical romances for XOXO Publishing. Her novel, A Soldier's Vow, is available for purchase here.

Stacey Thompson-Geer on Co-Writing Fiction!

I asked fellow WHP author, Stacey Thompson-Geer, to come explain to me (and us) how it works to co-write fiction, which is something I have not tried, and couldn't even really visualize. For me, writing is a solitary act, and I have enough trouble agreeing with myself when it comes to creative decisions!

Stacey, it seems, has it down pat, and all laid out for us, right here:

Co-Writing Can Work For You

A lot of writers are not sure about the whole co-writing thing. They may think it’s not going to work because writing is such a personal thing. The problem with this kind of thinking is you could lose out on a great project with a lot of creative minds.

Know Who You’re Working With

One of the biggest things to a good co-writing project is being able to trust the writers you are working with. This often comes down to reading what they may have already done for work or being good friends with them. If you don’t know their style, then you won’t know how your writing is going to mesh with theirs.

Come Up With a Plan

The futuristic Fantasy Octavia, my co-writer, and I have been working on is written in a way that gives us each control over our own characters set in the same kind of world. While these two main characters interact, they also have their own way of thinking and viewing the story the reader is going through. We came up with this plan early so we each could have our own storyline set within the main one. So far it has worked out well.

On a different type of co-writing project, we all came up with a main theme and have written stories based around that theme. This helps to keep us in line with each other, but also helps us to keep something fun and different in each of our stories.

Don’t Be Afraid Of the Twists and Turns

When I started writing the futuristic Fantasy book with a good friend of mine, I didn’t know what was going to happen each time I sent the manuscript to her. She had her own ideas that took the story to places I probably wouldn’t have thought of. This can be great for the story and for the readers. They may think something is going to happen and be surprised when something totally different happens instead.

Co-writing is nothing any writer should be afraid of. It can open up new ideas and new doors for everyone involved and are a ton of fun. Just remember to talk and keep everyone involved floating on the ideas. That way you and the other writers will have a book that is great and have fun doing it.

Stacey Thompson-Geer is an author and a mom. You can find information about her work at her website: www.staceythompsongeer.com.

Topical Tuesday: Parenting and the Writer

A typical afternoon at my house finds me begging an extra 10 minutes from my 2 and a half year old son so I can finish a paragraph. Naturally, he wants me to play "choo choo" and isn't always kind and understanding about why I'd rather play "keybood."

I suspect this is a scenario common to most writers who also happen to be parents. (Or, should I say, parents who happen to be writers? Chicken and the egg, I guess.)

The basic dilemma is this: How do you juggle the time demands of an active child, who you adore, with your work, which you love (and need to do)?

Most of the time, I have managed to figure out how to get my 1k a day without too many tears from either one of us. Without finding a way, I wouldn't have been able to finish my dissertation, or do my fiction. I was a student when my son was born, and have only recently finished, and I have applied the lessons learned then to my writing.

It doesn't really matter what style your writing is, the method you develop is entirely based on the rhythms of your family and of your work, but these are some broad strokes of my basic regime:

• I work whenever I can, meaning I have stopped waiting for the "perfect setting" or "right time." When the tot is sleeping/playing nicely I go for it. This is helped greatly by my habit of outlining scenes - I can just pick up the next scene and run with it, by plugging away. There is no guessing as to what to write next.
• I work at night whenever possible - no distractions, free time. I am fortunate in that I can exist on very little sleep - a survival skill I picked up in grad school, encouraged by a natural life-long propensity towards insomnia. One challenge in this system is staying awake while putting the tot to bed (after a whole day of chasing him around). The bigger challenge, however, is in staying cheerful during the following day after some late nights - this takes concentration, and the will to be cheerful. Cheerfulness does not always come naturally, but it can be inspired if you are mindful of yourself and your moods.
• While I try not to compromise on my motherly duties where they count, I have had to adjust my idea of "ideal motherhood." My house is often horribly messy, for example. Meals are filling and nutritious, but they are hardly glossy-magazine quality. And I have had to back down on my "he should never watch videos" stand (we don't have TV/cable reception, which I will not change my mind on, but we do have DVDs). The tot does spend a bit of each day watching his favourite DVDs to give me some peace. At first, I was super-guilty about that, but when I see him learning from them, and clearly enjoying them, I have loosened up a bit on the issue.
• I have been working on establishing my writing as "important to mommy." I patiently explain and re-explain to my son that "I need to do xyz-amount of writing before we do this or that". I don't push his patience, but I am increasing the limits steadily, encouraging him to play near me on his own more and more, and to accept that when I am writing I am not entirely accessible. I don't overdo this, as he is still so young, but I hope this will pay off when he is older.
• I use a Dictaphone when necessary.
• Finally, I try to be interactive when I write, as much as possible. I do not demand constant silence or privacy. This way, he can feel that I am reachable, even if I am not directly playing with him. We listen to music together while we do our separate activities in the same room, for example. I will often read what I am writing out loud (if it is under PG-rating), as he does seem to enjoy my running monologues - he doesn't really care what I am saying, I find, as long as I am talking to him. A lot of the time I spend writing, I am nursing him, or he's sitting on my shoulders, or sitting next to me at the desk typing on his own keyboard or toy laptop. Writing this way is not ideal, perhaps, and some people wouldn't want to do it, but I find it works for me. Sometimes, you just have to power through.

In asking authors around the biz (or any work-at-home parent), I find similar make-shift processes in place. Robert Roman, author of Road Mage, and father, gave me a quote that sounds pretty familiar:

I'm lucky - the boy who likes to sit in my lap is small enough that I can type. Other than that? I steal time from myself when they are sleeping and I ought to be, and I sometimes steal time when they're playing quietly and daddy doesn't get the game.

(Basically, make hay while the sunshines, parents!)

Diana Cosby, author of His Conquest, gives me hope that proper balance, boundaries and explaining your writing to your children as if you are - gasp! - a human and not just a mom does work as your children age:

Make your children a part of the process, explain how writing is important and like they value the time they spend doing what they love, you value yours. Break down with them a time you write and they respect your time. After, it's fun time where you play, do homework or spend with them.

Juvenile/young adult fiction author of Shrinking Forward, and mom to four, Nathalie LeBlanc may have it the best of any of us - her stuff can actually be used seamlessly with her parenting!

I started writing when I was pregnant with my first child and now she is nearly nine years old. She has read my first novel Shrinking Forward. She was so excited to find out what happened next she bugged me for a week to read book two called Fading Away. After a week of bugging me she won! I love her excitement on her face every morning waking up and wanting to know what happens in the next chapter! After all, one of my main reasons for writing my novels was for my children.

Perhaps not so applicable to those of us who write romance or erotica, but, while we can't all write to the age group of our children, Nathalie reminds us that writing is not really contrary to our parenting. At times, the work is important to our family health by adding income. Even more often, it aids our parenting by making us happier or more complete as individuals, which should make us more able parents. For some of us, it's an important part of keeping sane! In the long run, seeing a parent create and have the courage to pursue their dreams is a valuable thing in a household.

So, even while it might get dicey, and you may feel one obligation or the other is suffering at times, and you feel the burn of sleep deprivation when the muse strikes, there are ways to juggle both, and many have done so successfully for years. Investing in the quietest keyboards you can find and living off coffee... It may be a fair price to pay for us toilers in words and nurturers of small people, as both are wonderful gifts.

I am of the opinion that being a mother makes my writing better and that being a writer makes my mothering better. And if the dishes are not always done, and the floors are not always spotless, I can honestly say I feel good about what I do - on both sides.

So, happy writing! (And give your little ones a hug for me.)

Writing Wednesday: My Progress

I have been astonished to see how well the 1k a day goal is working this week, as it forces me to write even when I don't really "feel like it."

My paranormal erotic short story is now just over 5,000 words (so much for my 4,000 plan!), and is only one scene and the ending away from completion! I want to finish it today, so I can let it simmer for a few days before I edit. Perhaps this Sunday, I can give you a small excerpt!

I have decided to name it "Waking," for reasons I hope you will perceive when you read it.

I actually think it's quite good, though writing erotica did take some getting used to. My contemporary romance always contains erotic scenes, but nothing this far out, and nothing this descriptive. It has been a challenge, but I think I have risen to the task.

My next project is my holiday romance (as of yet untitled), which will be contemporary and far sweeter, though sexual attraction will play into a good deal. I hope to have this finished by mid-October, if luck and words are with me.

Then, of course, it will be back to my full length contemporary.

I am so glad I got my nose back to the grindstone. There for a while, I was feeling like such a poser - talking about being a writer, but not actually writing. It feels great to follow through with actual words on paper. I can't wait for my releases!

I close with a few words from Philip Roth (my mantra these days):

"Amateurs wait for inspiration; professionals merely get up

and go to work every day."

~*~

1K a Day

I've seen a couple of writers around taking the "1K a day" challenge. I am sorely tempted - roughly 4 pages a day... That would go a long way towards getting these lagging projects under control. Yes, I am tempted.

But, on the other hand, do I really need the guilt of making a pledge that I might not keep?

When you've got a toddler, your time really isn't your own, so who knows which days I might be able to keep such a pledge?

Instead, I take the middle path: I will aim for 1K a day...

Wish me luck.

Progress...

I decided to put a WIP ("work in progress") progress box on the blog - see sidebar to the left.

This addition is so I can be better motivated to make steady progress, instead of slacking off or fiddling with designs for the future when I have current works that need my efforts and attention. I got the idea from one of my favourite new blogs, Heroines with Hearts.

So, the long and the short of it is that this past month has been a wash in terms of actual words accumulated, and I really need to hustle to get these things done.

This progress box shames me. Time to get to work, so I can enjoy watching those numbers climb... and start slapping DONE on them!