I struggled to stay awake on the drive home from the Ohio Christian Writers Conference, my conference companion and I too tired to even speak to each other. Air1 and 104.9 in the background, I sang along to myself, thoughts drifting to the wonderful time of worship at the conference then to the conference itself. Those three words became the basis of my thoughts.
The OHCWC was my first writers conference. I’d attended writing workshops before, but never a conference with pitch appointments or that many agents, editors, and publishers. I didn’t realize how tired I would be.
Three days of sitting around taking notes, listening to writing workshops, pitching my WIP, and connecting with other writers shouldn’t be that tiring, right? However, I, and I think a lot of other writers, forget how mentally taxing writing is.
As you prepare for your next writers conference or are readying to return home from one, take time to recover afterwards. I’m sure upon your return home, family and friends will flood you with questions: “Did you publish your book?” “Who did you meet?” Your brain will need a rest from all that happens at a writers conference, and questions can quickly become overwhelming.
That recovery time is needed; thus, here are four ways to recover from your next writers conference:
Let your family and friends know that you will need alone time.
Writers conferences are a wonderful time of networking with others. When you return home, you won’t want to be swarmed by more people and questions. While it’s great that your family and friends care to know about the conference, make sure that you tell them before your departure that you will need alone time afterward. Tell them that you appreciate any and all questions about the conference, but to please, save them for the day after you return.
Take a shower.writers conference
It’s a strange yet well-known fact that writers think well in the shower. When your brain is overloaded from all the information you received at the conference, a nice warm shower may be just what you need to relax and to begin processing all you learned.
Drink some tea (or coffee!) and read a book.
You’ve learned so much about writing and talked so much about your own book that it will be beneficial to disappear into the world of another author for a few hours. Curling up on the couch with your favorite drink and taking a break from reality will help you relax and recover from the conference.
Journal your thoughts.
After the OHCWC my thoughts were in a jumble. All the information from the sessions swirled around in my head, and I didn’t even know where to begin sorting through them. So, I pulled out my notebook for writing thoughts, a ballpoint pen, and I wrote. The writing wasn’t pretty. It was hardly coherent. But by the end, I knew where to start formulating my writing plans and knew how to answer the questions others would undoubtedly ask me.
Most of us won’t have much time to relax and recoup after a writers conference, but these four ways don’t require a lot of time. A couple of relaxing hours will go a long way to helping you continue your writing journey.
If you’ve ever been to a writing conference, how did you feel afterwards? What did you do to recover?
Galaxy tights, mismatched socks, and a cup of tea in her T. Rex mug often accompany Megan when she sits down to write. Her passion for story has impacted her life since she and her sister first began enacting stories with their dolls and using their imaginations to create worlds of stories in their backyard. After graduating with her BA in English, she is currently earning a Graduate Certificate in Editing through UC Berkeley. Megan is using her love of story and purpose of serving Christ to write and edit at Literary Portals Editing. Find more about her services at www.literaryportals.com.
Caroline, please tell us about your most Recent Book
The Vestige revolves around the questions: What if the end of the world has already occurred? What if our final demise happened slowly, secret . . . and we’ve been oblivious to it all?
Julie Stryker, my main character, has spent her life in the scenic streets of Charleston, South Carolina, bicycling to the local college, working at a coffeehouse, watching her family fall apart and back together. She has plans, dreams—all of which seem out of reach. Then she meets a handsome stranger at work, and she believes her life is on the brink of a much-needed change. But after a tragic accident, Julie is whisked away from the only home she’s ever known and confronted with a life-altering secret: The end of the world has already occurred and a portion of humankind has been kept oblivious.
Tossed into a hidden world of deception, Julie must confront the truth within herself and reveal the government’s layers before the end of the world becomes a permanent reality.
I first began exploring the book’s concept while sitting at Starbucks one day. I realized my life was pretty. The people around me sipping their lattes were pretty. The shopping mall across the highway was filled with pretty things. But when I checked my Yahoo news feed and saw disturbing headlines, I concluded that my life is nothing more than an illusion: The world isn’t a pretty place, yet it is unbelievably easy for people to go throughout their day without noticing the dirt.
Unlike my previous publications, The Vestige is a call to action, a call to awareness.
Why do you write what you do?
I’ve been passionate about young adult fiction for as long as I can remember. I love YA readers and their eagerness to engage with stories, which is one reason why I’ve chosen to write predominately for a YA audience. All of my books contain a heavy military influence and science fiction undertone—this is due to my fascination with the end of the world scenarios and soldier culture/mentality.
What are you currently working on?
I’m currently writing the last installment of The Prime Way Trilogy, working to start Local Publishing with ministry My Local, and brainstorming ideas for The Vestige’s sequel. Besides author projects, I’m also in the process of finishing college at Belmont University.
How does your work differ from other work in its genre?
Literary rebel would best describe me as an author. The moment I feel one of my books is becoming genre indicative, I change it to ensure it stands out. I like to take an innovative approach to writing, make sure each book contains a specific message and caters to a purpose-chosen audience.
Unlike other YA SciFi books, my work bridges the gap between the past, present, and future, and shows the instability of our world through the eyes of relatable characters.
How does your writing process work?
Outlining is the first step in my writing process. I like to enter a project with an idea of where it’s headed. Once I have a basic outline in place, I begin writing. Each chapter is sketched out in great detail before it is written. After I’ve put together a rough draft, I revise and undergo several rounds of edits.
A unique part of my process is pinpointing a project’s message and purpose. I have to believe in a story’s value before I can write with urgency.
Caroline George, author of THE PRIME WAY TRILOGY and THE VESTIGE, resides in Nashville where she spends the majority of her time in hipster coffeehouses, sipping lavender mochas and undertaking over-the-top projects. She is a two-time Georgia Author of the Year nominee, speaker, blogger and writer for teen magazine PURSUE. Caroline studies publishing and public relations at Belmont University and works as a publicist for local artists.
You saw a listing for a writing conference. It looks amazing. You’re excited, then doubts creep in. Am I ready? Will they take me seriously? Is it worth the money? Pitch appointments? I can’t do that!
As a teen writer, I often ask myself these questions when signing up for writing conferences. I’ve had some of these fears and I’m sure many of you have experienced them too. Maybe you’re going through them now. It’s okay. Recently, I went to the Ohio Christian Writers Conference (OCWC). It was wonderful. But, like many of you, I was nervous.
Let’s take a more in depth look at the questions above, and I’ll share the answers I experienced.
Am I ready?
The great thing is you don’t have to be. Preparation is good, but not vital. At OCWC there were attendees who hadn’t begun writing yet. But you know what? They left inspired and ready to start.
Will they even take me seriously?
Despite the fact that I am years younger than most of the attendees at OCWC, I was treated with just as much respect as everyone else. My writing was taken seriously. I was taken seriously. My fears were put at ease and I was able to socialize without fear of being underestimated.
Is it worth the money?
You learn so much, and make so many connections (I wouldn’t be writing this article if not for one of those connections), both with faculty and other writers. OCWC bent over backwards to make their conference affordable. And while it’s ultimately up to you to decide if the conference is worth your time/money, I feel like I got every penny’s worth out of OCWC.
Pitch Appointments
These very words inspire anxiety. But, take a deep breath. It’s okay. Conferences like OCWC offer appointments where you sit down across from a professional and talk. A lot of attendees use this opportunity to pitch their books, but if you’re too nervous or don’t feel like your story is ready for that step, you don’t have to. Take this time to ask questions. You can ask about writing, blogging, marketing, or the business side of the industry. Anything writing related. Don’t stress. The faculty are there to help you and answer your questions. At OCWC, I’m not going to lie, I was nervous. But, both of the ladies that I had appointments with were extremely nice. One prayed with me before my session and hugged me afterwards. (She’s the reason I’m writing this).
Here are a few other benefits of conferences:
You learn a lot.
It can be overwhelming, but set aside time after the conference to digest what you’ve learned.
Every conference I’ve attended has books for sale. And, usually, the authors of these books are walking around the same building you are, often teaching classes and meeting with conference goers. It’s totally okay to ask them to sign your book.
You never know what connections you’ll make.
This is true with both the faculty and attendees. You never know what friends you’ll make, and who knows, maybe you’ll walk away from the conference with requests for your manuscript.
So, pray about that conference. See if it’s something God’s calling you to do. If the answer is yes, go. Enjoy your experience. Make connections. Learn. And have fun. God has a plan for you and if He’s called you to this conference, it won’t be a waste of time.
Ashley Schaller enjoys reading about reckless, headstrong heroes, prefers tea over coffee, and loves dollhouse miniatures. When not writing, she can often be found curled up with a book.
Normally in these articles about magazine writing, I focus on positive ways to make a difference. From my years in the publishing world, I understand that sometimes a list of negatives can also make an impact. I’m taking a different slant (a magazine writing term).
While you probably don’t know it, if you violate one or several of these methods, your article or query will not be considered but quickly rejected. The reverse is also true: if you avoid all these ways you will give your submission a greater chance of acceptance and publication.
Not Following the Submission Guidelines
Editors have made the effort to tell you what they want for their publication. This document is called the submission guidelines. They will mail it to you if requested or you can find it on the publication website. Use GOOGLE to located these guidelines, read and then follow the editor’s directions. These guidelines will highlight the different types of articles that are wanted and the specifics like word count or whether they want the full article or a query letter. They will also tell you whether they pay on assignment or on publication and how much they will pay. As you know these details and follow them, it will increase your possibilities of success with print magazines.
Not Properly Formatting Your Article
Most word processors will come with a default font like Arial but magazine editors prefer a serif font like New Times Roman or Georgia. Also they prefer the top of the first page to include your name, mailing address, phone and word count and the rights you are offering (first rights or reprint rights). Also proper formatting includes sending a short bio at the end of the article.
If your submission is properly formatted then you gain a reading or hearing from the editor. If it is not formatted, you risk instant rejection.
Wrong Word Count—Too Long or Too Short
Magazine writing is about strong communication in a limited amount of space. It’s not 140 characters like a tweet but it is restricted. It is all about meeting the expectations of the editor. If the editor wants 500 words on a topic, then send him 500 words. If you send 800 words and assume the editor will cut the 300 words he doesn’t need because editors edit. Then you are risking rejection or at best, a rewrite request from the editor.
No Takeaway for the Reader
Every magazine article is ultimately about a single point for the reader. This single point is called a takeaway. If you have written a personal experience article, what is the point of that article that you want the reader to carry away from the article? From reviewing many magazine submissions, often articles are rejected because they did not include this single point or takeaway for the reader. When I worked at Decision magazine, 1.8 million copies an issue, sometimes as editors we added a sentence takeaway at the end of the article. Sometimes it was a statement and other times is was a provocative question. No matter what type of magazine article you are writing, every one has a takeaway. If your article does not, then you risk rejection.
Missing a Key Element in the Story
Magazine articles must have a great opening story or question or quotation. They must also have a straightforward overall structure—a beginning, a middle and an ending. If your article wanders all around without a point or solid storytelling or structure, then again you risk rejection and not acceptance.
The magazine world is all about making a good and lasting impression and forming a relationship. You want to be the writer that the editor reaches out to and asks you to write a specific article (assignment). Every magazine has a “stable” of writers who contribute to the publication on a regular basis. Then when the editor has an idea for his publication, he turns to those writers who have been contributing regularly.
The journey of becoming one of those stable writers begins with a single step—consistent and professional action. Stay away from these turn offs.
Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET on Zoom. Participants mute their audio and video during the filming, then we open up the room for anyone who wishes to participate with our guests. The “After Party” is a fifteen-minutes of off-the-record sharing and conversation.
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I attended my first writing conference when I was sixteen-years-old. This is what lead to the publication of my first novel, PURPLE MOON.
Since then, I’ve attended conferences yearly and have grown in my craft, established connections that were beneficial to my career, and made lasting friendships and memories.
But these conferences can be intimidating for newbies — especially if you’re a teen like I was.
A young writer recently asked me,
“I was wondering if you have any advice for pitch appointments? I’ll be attending a conference this fall and it will be my first conference where I’ll be pitching my novel in a formal setting.”
For those of you who don’t know, at a writer’s conference, you have the opportunity to meet with agents and publishers and pitch your book. At most conferences, these appointments last about 15 minutes.
Which means that, as a writer, you must make a great first impression in this short amount of time in hopes that they will request your full manuscript (or proposal).
As a writer, Associate Agent, and Acquisitions Editor, I’ve experienced what it’s like to be on both sides of the table. I’ve learned — through trial and error, and through witnessing the pitches of others — what to do and what not to do.
Here is what you do want to do during these pitch sessions:
Prepare beforehand. Write a concise tagline of your book that you can deliver during the pitch. Make a list of potential questions the agent or editor might ask. Do your research on who it is that you’re pitching to. You might also want to make a list of questions that you’d like to ask them as well.
During the pitch, give a brief introduction, then tell the agent/editor your title and genre. Then dive into the concise pitch. If you have a one sheet or sample chapters, ask if the agent/editor would like to see it.
Remember: passion makes an impression when it’s contained within the boundaries of a professional approach. You want to be passionate about your project, but not so passionate that you begin to ramble.
Project confidence, not arrogance. Believe in your book and don’t be afraid to tell the agent/editor about your publishing history and writing qualifications. (They will want to know this!)
Refrain from over-delivering — give them just enough of a hook to wet their appetite for more.You’ll also want to leave time for them to ask questions to you and vice versa.
The most important thing to remember? Relax. Have fun with this! Don’t put pressure on yourself to leave with contract interest, but to share your passion for your book and receive feedback and direction.
The agent/editor isn’t meeting with you to criticize you; in fact, they’re hoping to find projects that they can pursue. Many times they’re happy just to offer their input, even if they may not be interested in the project at the time.
Is anyone else planning to attend a conference soon? Let me know in the comments!
I heard my seven-year-old grandson moaning on the mat below the climbing peg-board. I went to see if he needed help, but he quickly stood up. It was clear he was embarrassed that I’d seen him laid out on the cushion.
“Are you OK?”
“Yeah.”
But I could tell his heart hurt. He’d been struggling to climb higher on the challenging board his dad had erected in the garage. Try as Luke might, he couldn’t get past the first couple of holes that required a strong effort to insert the thick pegs and pull oneself a bit higher, one step at a time. To make matters worse, Luke’s brother of the same age scaled the height with ease.
“Oh, you’re a fantasy writer? I love ‘The Lord of the Rings.’”
“I don’t write that kind of fantasy.”
“What other kind of fantasy is there?”
Does this conversation sound familiar? To some fantasy writers, it might. Although High Fantasy—the category in which J.R.R. Tolkien’s “Lord of the Rings” falls under—is one of the most common sub-genres of the fantasy genre, there have been an abundance of sub-genres that have made an appearance over the past number of years. Because of this, it can sometimes be hard for a writer to decide which sub-genre their work actually falls under. Here are a few of the most common that might help make your decision clearer.
High Fantasy—As mentioned above, it is one of the most traditionally used. These works are often lengthy with large-scale quests and many characters. They sometimes include a world map, the classic “hero” character, possess fantastical creatures like dragons or unicorns, and may have magic. Other sub-genre categories that may cross over are Medieval Fantasy or Sword and Sorcery Fantasy. Example: J.R.R. Tolkien’s “The Lord of the Rings.”
Low Fantasy—A story that takes place in the “real world” but has elements of supernatural magic would fall into this category. These can include the “normal kid” who discovers they, or those around them possess some sort of supernatural power. Other sub-genres that cross over are Portal Fantasy, Paranormal Fantasy, and Urban Fantasy. Example: J.K. Rowling’s “Harry Potter” series.
Steampunk Fantasy—This sub-genre is unique in that it marries a historic Gaslight Fantasy world (set during the time that gaslights were in use) but incorporates both fantasy and technology. The technology is often powered by magic, lifting the limits that the Historical sub-genre might place on this category. Example: Shelley Adina’s “Lady of Devices” series.
Dark Fantasy—Sometimes called Gothic Fantasy or Grimdark Fantasy, this sub-genre is meant to be scary. These are the stories that contain ghosts, zombies, and other creatures of the night. Again, this category crosses over into the Speculative realm by remaining close to the Horror genre, but it is still considered Fantasy by many writers. Example: Neil Gaiman’s “Coraline.”
Historical Fantasy—This sub-genre is any fantasy work that takes place in a historical time period. This makes it easy for many other fantasy sub-genres to identify within the Historical Fantasy sub-genre, as well. Example: Diana Gabaldon’s “Outlander” series.
Medieval Fantasy—Inspired by the medieval period, this sub-genre can rely heavily on myths and legends. Depending on the depth and length of the work, this category could include High Fantasy. Another break off from this sub-genre is Arthurian Fantasy, which focuses specifically on the world of King Arthur. Example: George R.R. Martin’s “The Game of Thrones” series.
Paranormal Fantasy—This sub-genre evolved from the combination of the Low Fantasy and the Dark Fantasy categories. Many books in this genre often have a romantic element, as well. Strong themes within these novels are love triangles, vampires, faeries, werewolves and angels. Example: Stephenie Meyer’s “Twilight” series.
Crossover Sub-genres—Many of these mentioned sub-genres can also have a romantic element or may be better defined as Young Adult. In this case, calling your work either Romance Fantasy or Young Adult Fantasy would work, too. There are also Children’s Fantasy, Comic Fantasy, and Science Fantasy, to name a few more. Keep searching and you will find dozens of sub-genres to describe the fantasy writing genre.
In the end, it’s up to you, the writer, to decide in which sub-genre you’d like to categorize your work. There is no doubt that your work will likely cross over into a few of these sub-genre categories, but calling your work a Young Adult Paranormal Urban Romance Fantasy will likely confuse the reader. (And make it difficult to market!) Choose one sub-genre to begin your marketing strategy and you can change or add additional categories down the road, as needed.
A thief hides in the shadows. But even better, a thief lurks in the shadows.
A man falls from the cliff. But even better, a man plunges from the cliff.
In each of these cases, I’ve replaced a bland verb with a power verb.
Verbs are the muscles of your sentence. And if you know your physiology, two types of muscles fire away in our arms and legs—slow-twitch and fast-twitch muscles.
Slow-twitch muscles fire more slowly and are efficient at using oxygen, making them ideal for endurance. Marathon runners use slow-twitch muscles. Fast-twitch muscles, on the other hand, fire more rapidly, making them ideal for short-bursts of energy. A football halfback uses fast-twitch muscles to blast through defensive lines.
In this metaphor, slow-twitch verbs are your ordinary, steady verbs, which carry us long distances through a story like slow-twitch muscles. After all, not every verb can be packed with power. But if you want to propel your story, be on the lookout for power verbs—the fast-twitch verbs. They give your writing that much-needed burst of energy, propelling your story forward.
Water flowsrapidly from a pipe. But even better, water gushes from a pipe.
An exhausted woman walks slowly. But even better, an exhausted woman trudges.
Fire burns your hand badly. But even better, fire scorches your hand.
Note that in these last three examples, the verb in the weaker sentence was accompanied by an adverb. The water “flowed rapidly,” and the exhausted woman “walked slowly.” If you feel the need to use an adverb, that’s a hint that your verb might be too bland and too weak. It’s much more vibrant and vivid to say the water “gushed” rather than “flowed rapidly.”
We often try to rescue our weak verbs by pairing them with adverbs, but a fast-twitch verb does not require the assistance of an adverb. Consider another example…
Johnson soundly beat the record.
This sentence tries to strengthen the verb “beat” with the adverb “soundly,” but it just doesn’t work.
Instead…Johnson shattered the record.
Put a little power in your verbs, and you will improve your writing. No, scratch “improve.” You will punch up your writing. Much stronger verb.
* * *
5 for Writing
Get writing. Find the time to write. Then do it.
Learn by listening—and doing. Solicit feedback, discern what helps you.
Finish your story. Edit and rewrite, but don’t tinker forever. Reach the finish line.
Thrive on rejection. Get your story out there. Be fearless. Accept rejection.
Become a juggler. After one story is finished, be ready to start another. Consider writing two at once.
Special guest April Carpenter shares how writers can take care of themselves during the hustle and bustle of the holidays.
https://youtu.be/r-tSBA3nqUEz
Join us!
Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET on Zoom. Participants mute their audio and video during the filming, then we open up the room for anyone who wishes to participate with our guests. The “After Party” is a fifteen-minutes of off-the-record sharing and conversation.
Additionally, you can grow your network and add to the conversation by joining our Facebook Group.
I love Oreos. Milk’s favorite cookies are great on their own, but they’re over the top when combined with other ingredients. Imagine my excitement when one of my public speaking students announced she wanted to make Oreo Balls (or truffles, for you city folk) for her process speech.
Score!
If you have never had this treat, here’s how it goes: you crush up the delicious cookies, mix them with cream cheese, form them into a ball, and then dip them into melted chocolate.
Basically a diet food . . . if you are trying to add more calories and fat to your diet to gain weight.
In my day job as a professor of communication, I count process speech time as a highlight of each semester. Because I am a chubby professor of communication who enjoys food, I strongly suggest that those doing cooking speeches bring us a sample. I’m smart like that. I’m also fat like that.
This particular student told me her idea at the end of class, but I was frazzled and didn’t write it down. When the official topic signup sheet went around the next week, a different girl indicated she wanted to make Oreo Balls. Normally this wouldn’t be a problem for a healthy boy like me, but it violated my hard, fast rule about no two people doing the same topic. By the time I realized the oversight, it was already too late, so I decided to be like Elsa and “let it go.” After all, I love Oreos (see above), so we had two speeches about Oreo Balls on the same day.
What happened was fascinating.
The speeches were a study in contrast for both approach and tone, and the samples could not have been more different. One girl made petite treats dipped in white chocolate; the other student’s finished products were huge (we’re talking Ernest T. Bass-size rocks), dipped in milk chocolate. I was in Oreo heaven.
That’s a long set-up to say, as writers, we are different. If I gave two of you the same writing prompt, I guarantee the two pieces would not resemble each other in the end.
I view the world and the things around me through a different lens than many of my writer friends. If you read this blog regularly, you have realized I can find the funny in almost anything; it is hard for me to write in any other way. I cannot explain it—it is simply how I am wired.
I have friends who write historical fiction, while others write suspense. Some write serious Bible studies, and others write children’s books. God made each of us unique, and that uniqueness spills over into our writing. It is up to us to find that one-of-a-kind voice and to cultivate it.
I’m off to write another wacky piece—as soon as I clean these Oreo crumbs off my keyboard.
The well-born lay woman . . . led a much freer and fuller life than her sister in religion. On her was laid the task of ordering large numbers of servants, of keeping good store of food and clothing, and of physicking if need be the members of her household. Phillips & Tomkinson English Women in Life and Letters
Last month we touched upon the life of the German nun and first female playwright, Hrotsvitha. Her cloistered life afforded her the luxury of an education, but little other pleasures in a material sense due to strict disciplines imposed upon her monastic lifestyle. Her written works attained an audience in her lifetime and far beyond leaving a powerful impact for God’s truths.
However, most of the words penned by ladies of the time only knew reading audiences within their households and intimate relationships.
The writing life of women in medieval times remained in the upper spheres of the classes: noblewomen, cloistered nuns, and royalty with access to education. Noble-women and higher-ranked members of the servant class managed households and palaces with efficiency and skill, leaving reams of written notes with the record of their days and household ways.
Largely free of the back-breaking menial chores associated with daily living, noblewomen recorded directives to their staff to accomplish such tasks. They drafted daily menus and managed inventories of valuable stores.
But, beyond the business of household management, lettered noblewomen enjoyed applying pen to paper for leisure in their writing life. Prayer journals, correspondence, fictional tales for personal amusement, and literary translations are left to us for posterity. For the most part, few of these women fancied their written words to have any lasting impact beyond their home. They had no thought to edit their work so we in later years have more honest words from which to, not only learn of historic realities, by more accurately judge the character of the writer in her time. These documents are valuable historic treasures referenced by academic elites and non-fiction readers today. When penned, the writers could not have imagined eager audiences reading their words hundreds of years later. Secrets are shouted from rooftops reflecting upon the authors—for good or ill.
Popular non-fiction reading includes the posthumous publication of private letters, journals, and casual notes saved from the past. The most closely guarded secrets of a woman’s life, in life, finds worldwide readers hundreds of years after her death. Do you ever imagine that will be your story, too?
Women writers in the 21st century trade in words daily. Social media exposes our personal and random reflections on our days and household ways to a world-wide audience almost immediately they are written. There is great debate on the wisdom of so much personal and unedited material flooding the digital world, lingering and accessible to whomever forever. How do the stories your random, unedited writings tell reflect upon you and the things you hold most dear? For many of us, mi’lady’s pen for posterity is a cautionary tale.
Out of the same mouth proceed blessing and cursing. My brethren, these things ought not to be so. James 3:10 NKJV
Your pen is your tongue—outlasting your life and living still when your physical voice speaks no more. Think on these things for posterity.
Steward your random writings in labeled files—both hard copy and digital.
Be true to yourself in your records—but truer to God.
Journal Prompt: Would medieval ladies have altered their words if they thought the spilling of their hearts would have such a broad platform and be given great weight as historical documents hundreds of years after their deaths? How do you view and value the random notes or private words you write? Why? Into whose hands will your personal journals, letters, and saved ephemera fall one day? What is the historic legacy your personal writings will leave for posterity?
[bctt tweet=”What medieval women, writing in private, left to the public and posterity #journaling.” username=”@A3writers”]
[bctt tweet=”#Women in Life and Letters— #Writing Milady’s Pen for Posterity” username=”@A3writers”]
Reference:
English Women in Life and Letters, by M. Phillips and W. S. Tomkinson Oxford University Press, 1927
Writer-speaker, Kathryn Ross, ignites a love of literature and learning through Pageant Wagon Productions and Publishing. She writes and publishes homeschool enrichment and Christian living books for home, church, and school. Her passion is to equip women and families in developing a Family Literacy Lifestyle, producing readers and thinkers who can engage the world from a biblical worldview. She blogs and podcasts at TheWritersReverie.com and PageantWagonPublishing.com. Connect with Miss Kathy on Facebook.
My most recent published novel is called The Pan: Experiencing Neverland. It is a teenage action adventure novel based on the Peter Pan story. Unlike most fantasy based Peter Pan stories, this one is dark and humanistic, dipped in realism and based on true historical locations, facts, and characters.
Why do you write? Do you have a theme, message, or goal for your books?
Writing has always been an escape for me. I write to escape reality, explore new worlds, or revisit history. But I also write to encourage people. I want people to be inspired by my stories. Sometimes I teach a lesson or focus on a truth (usually historical). Sometimes I encourage people in their walk with God.
How long have you been writing?
I started writing before I could write. It was just something I always did—tell stories. At the age of three, I would dictate stories to my older sister and she would write them down for me in little booklets. Writing was a way I coped with the oddities of middle and high school life.
How long does it take you to write a book?
I don’t have a lot of free time, so it usually takes about two years. I usually work on several projects at a time. I’m too ADD to focus on just one. I switch up my time from novels to screenplays.
What’s your writing work schedule like?
I’m not a traditional writer. I work on film sets about 12 to 14 hours a day or more—so I make notes on my phone throughout the day. I’ll write during lunch. If I get off work in time, I’ll write after work at a coffee shop for an hour or two a night. If I had to pay writer’s rent, I would owe Starbucks thousands of dollars, I’m sure, as most of my writing is done on the road, visiting all the Starbucks in the southeast. When I’m not on a film, my creative juices start flowing around ten at night and I will write until sun up.
Do you have an interesting writing quirk? If so, what is it?
It’s hard for me to write at home. I mostly write at coffee shops where I’m more inspired. I also wear headphones as I’m easily distracted. I usually listen to music that would be a good theme for my story. Right now I’m finishing a World War 2 novel and created a playlist on Youtube of classical songs that I wrote into the book. I’m also writing a screenplay on the life of Louie Armstrong, so naturally, I created a playlist of his songs, and how they will appear in the story. But even if I’m not listening to music, I cannot write unless I have earbuds blocking my ears, and a coffee at my side.
What has been your greatest joy(s) in your writing career?
It is always cool to see your name in print. I think perhaps the greatest thing is to receive letters from people who tell me how my story inspired them to be a better person or drew them closer to God. I wrote a Christmas novel called Saint Nicholas, the Christmas Story. It is historical fiction based on the true Santa Claus. It’s about giving and loving others. It’s about self-sacrifice. It’s about helping the poor and less fortunate. I received a number of letters telling me how the story inspired people to be more involved with giving and helping the poor. I’m also a songwriter. I wrote a song about being in the dumps of life and how a touch from God can change all that. I received a letter one night from a woman named Mary who planned to kill herself. She told me God directed her to my song on internet radio at 3 am right before she was going to pull the trigger. Mary said she could relate to the song and it literally saved her life. Instead of pulling the trigger, she cried out to God for help. That’s probably my greatest writer moment ever…to save a life.
[bctt tweet=”That’s probably my greatest writer moment ever…to save a life.- Matthew Eldridge” username=””]
What has been your darkest moment(s)?
When I was writing my recent World War 2 project (still in the works), I had to do a lot of research about the Holocaust. I saw pictures and videos of the most inhumane tortures and killings. The research put me in such a dark, depressive place. These people were flesh and blood with a soul just like you and me. Their lives were stripped from them in the most unimaginable ways. There were many nights after writing and researching I would break down and just sob and sob and sob, asking God how he could allow it to happen. There were times when I felt suicidal after months of looking at pictures and reading torture stories. I would call my prayer warrior friends and beg them to pray for me. It’s my most powerful novel to date, but I don’t think I could write something so heavy again. I often live inside of my stories. I’m very sensitive and feel as if I’m the actual characters I write about at the moment. Even my two editing friends couldn’t handle reading through it—they said it was too painful, although it is an uplifting story.
Which of your books is your favorite?
Of my novels, probably the special edition of The Pan: Experiencing Neverland. It’s not your typical Peter Pan story. It’s more of a mysterious, dark, action adventure with a lot of historical truth. There’s very little fantasy in it. And a lot of it was psychological healing for me to write, based on my own problems from my childhood. I also love the fact that the proceeds from this novel goes to help fund missions to impoverished Native American reservations.
Who is your favorite author to read?
Ted Dekker and Frank Peretti used to be my favorite authors. Dekker writes darker material than he used to, and Peretti is pretty much retired. As of now, I don’t have a current favorite. Both were influential in my early years of writing.
What advice can you give aspiring writers that you wished you had gotten, or that you wished you would have listened too?
[bctt tweet=”If you write to fit a particular genre of what’s popular, or what people want, or just to sell books, or even to be famous, it’s not going to be authentic” username=””]
Write what you are passionate about. Write what you know. Write what you love. If you write to fit a particular genre of what’s popular, or what people want, or just to sell books, or even to be famous, it’s not going to be authentic. You won’t enjoy it. You’ll be wasting your time. But if you write what you are passionate about, you’ll enjoy every moment of it. My last two screenplays and latest novel revolve around musicians. I’m passionate about music and play eight or nine instruments myself. It excites me to write about what I love and know—especially when it involves social injustice or poverty, mixed with history. I’m passionate about helping the poor and orphans, so I combine all these in my stories.
How many times in your career have you experienced rejection? How did they shape you?
My first novel was rejected 25 times before I gave up. I decided to learn about self-publishing and it was wonderful for my first experience. Over 11,000 copies have been downloaded and it was awesome to see my book sit at number one on Amazon during the Christmas season in its category. The next two novels I didn’t even try for an agent, and started my own publishing co. However, I am seeking an agent for my newest novel and screenplay. I’m inspired by stories of authors who received 60 or more rejection letters but never gave up—then sold millions.
Do you have a favorite character or scene in one of your books?
I seem to either fall in love with or hate most of my characters. I believe all my lead characters have strong personalities people seem to love or hate. Of course I love Peter Pan in The Pan: Experiencing Neverland. I also love Saint Nicholas in Saint Nicholas, the Christmas Story. I love the character, Josh, a prodigy child violinist in my upcoming WW2 novel. I can’t tell you my favorite scene from The Pan, because it would give too much away, wouldn’t it? ;0)
Where do you get your ideas?
This is the funny thing—I have no clue. Something strikes me and I’ll get goose bumps and know I’m supposed to make a novel of it. Like I said, I prefer historical fiction, so it is often something in history that intrigues me. The strangest one was how I got the idea for Whiter Than Snow, my young adult, very true historical fiction version of the Snow White story. I’ve never been a fan of the Disney Snow White version, and it was the one princess story I never really read to my daughters. But one night I had a dream that Snow White was a real person and that the story was based on truth—that I needed to write the truth about her life. I woke up the next morning and furiously researched her life, devouring every little bit of history I could find on her. I was utterly shocked to find out the stories were all based on truth—about a beautiful young woman named Margarete Von Waldeck who was in love with Prince Philip II of Spain, and he was in love with her. However, there was a problem; for political reasons, Prince Philip was engaged to Queen Mary, or Bloody Mary, who martyred hundreds upon hundreds of protestant Christians. Not only is this a love story, but it’s a story about saving the lives of others through self sacrifice.
What are common mistakes you see aspiring writer’s make?
I used to teach high school Scriptwriting and Language Arts, and I’ve met a lot of indie writers. One common mistake I see is poor editing. They’ll have a great story with tons of mistakes that get in the way. Or they’ll have a good story that could be great. The problem I believe is that they get anxious after their first draft and want to publish it right away. Instead, my suggestion would be to sit on it for a few months after you wrote it—take a break and then go back and edit it. Your mind will be fresh and you’ll come up with new ideas. Also, have a fresh pair of eyes on it. Let your writer friends read it and give you advice or edits. Editing is more than just fixing punctuation or spelling.
Where/How do you recommend writers try to break into the market?
I started writing for newspapers and magazines. I have also done CD reviews, band interviews, etc. However, that was fifteen years ago. I honestly would say start by writing something incredible. Pour your soul into it. If it’s good, people will recommend it to their friends. We live in the digital age where word of mouth of a great book works wonders for indie writers.
Amazon
Matthew Eldridge’s debut novel, Saint Nicholas, the Christmas Story, made it to the #1 Best Seller for religious fiction ebooks on Amazon. Penned the next Christmas Classic, this novel will be one that will be remembered for a lifetime. Matthew’s second novel, Whiter Than Snow, spent five days at #1 Best Seller for Fairy Tales fiction e-books, and his latest novel, The Pan: Experiencing Neverland, climbed to number one in action and adventures for teens upon release.
Matthew writes a variety of styles including young adult fiction, historical fiction with a modern flair, teen fiction, and screen plays.
Matthew’s newest novel, The Pan: Experiencing Neverland, is a teenage action adventure adaptation of the Peter Pan and Wendy story. Profits from the 2nd version of The Pan go to missions for impoverished Native American communities.
Outside of writing, Matthew is a professional musician, singer, composer, and songwriter. He also works in the film industry as an actor, musician, double, and stand-in for famous actors such as Adam Sandler, Jason Bateman, Jon Hamm, Jake Johnson, Ed Helms, Theo James, Sam Claflin, Ethan Hawke, Carey Elwes, Adam Goldberg, Tim Guinee, Will Forte, Billy Burke and others.
Career success as a freelance copywriter depends on your ability to secure the right clients. If your clients cost you time, wear down your emotions, or pay you a pittance, you can kiss your career goodbye and head back to a cubicle. And who wants to do that? Not I!
Here’s how to secure the best and dodge the worst in clients so you can make a living and have fun doing it:
Avoid people who can’t make up their minds.
My rule of thumb says if a client takes longer than four weeks from initial conversation to an up-or-down decision to hire me, they’re out. I’ve heard all the excuses: We’ve been busy. Something else came up. School started. One client actually told me, “I’ve just been so full of grief because my son’s girlfriend broke up with him that I haven’t called you back.”
If a client is too busy to hire you now, they will be too busy to work with you later. They might be great people with a strong mission, but they’re not ready to employ a freelance writer. Your time is money. Don’t waste it.
Look for clients who know exactly what they want.
The ideal client already knows the project and can send you a brief or talk you through it in 30 minutes on the phone. If it’s ongoing work—the best kind—then they can tell you what they will generally expect you to accomplish every month. They also know if speed, quality, or quantity of work is most important to them.
Your prospect doesn’t have to nail down every detail before a project begins, of course, and additional work is often welcome. But use caution when conversations go like this:
You: What exactly is it you’re looking for?
Prospect: That’s what I expect you to tell me.
End that conversation with a firm: I’m not the right freelancer for you. Good luck in your search.
Anything else is a waste of time.
If they don’t want to pay, run away.
Set your fee, and stick to it. I sometimes quote a higher price than I actually expect in order to give some negotiating room, and in those instances, I’ll drop back to a lower dollar amount if the client asks me to. But I no longer give away work for free. Yet I remain amazed at the people who ask for it.
After 15 years of working for non-profits and schools, it kills me to say this. But I refuse to work for another charitable organization unless there is a marketing company acting as the middleman. As a freelancer, I’ve never had a good non-profit client nor have I had much luck with companies that are one-person operations.
If you want to help out a charity or friend, write them a check, but don’t let have them free work. They’ll leave you unpaid and feeling disrespected.
Does your prospect have a hiring process?
Most companies expect you to send them a resume, a link to your portfolio, and maybe a short writing sample. If the client wants more than that up front, it could be a sign they have grandiose ideas about themselves. As a second step, you might do an interview, take a writing test, or craft an audition article. These shouldn’t take more than an hour to do. If it looks like a major undertaking, the client should pay you for your time.
Whatever process the client uses, make sure that it exists, is formalized, and is fair to everyone involved. Ask yourself: If this company doesn’t know how to work with me before we sign a contract, how will they work with me after we sign a contract?
Can they onboard you like the navy? Or do they toss you a lifesaver and expect you to dogpaddle in the ship’s wake?
If the client expects more than a single project, how will they onboard you? Are you contracting with a marketing firm? Ask what your relationship will be with the client. Contracting directly with the client? Ask whom you’ll report to, how they expect to communicate with you, and what kind of deadlines you’ll be working on.
Some companies have no experience with remote contract employees. Others do this kind of thing all the time. It probably doesn’t matter what their process is, but one needs to exist. Without it, you can spend a lot of time feeling frustrated.
As a new freelancer, it’s tempting to latch onto any job that comes your way even if it’s a volunteer gig or the client seems sketchy. Don’t do it. You’re worth more than that. Plenty of good clients need you. Find them. Do great work for them. And enjoy a long and fruitful relationship with the best.
Holland Webb is a full-time freelance copywriter based in the lush upstate of South Carolina. His writing focuses on making technology accessible to non-techies and selling household goods to urban-dwelling Millennials. He can be found at www.hollandwebb.com.
We have explored four of the major responsibilities placed upon any director in the production of any stage or any production for the screen. The first three were: research, the script, reality level and the last is small but very important.
Moments
Moments are just that, moments that are placed within view of the audience that convey certain thoughts, doctrine, or emotion. When watching Blade Runner 2049 you can see the hundreds of placements of ads: Coke, Seiko, PanAm, Peugeot and many, many others. These are visual “Easter Eggs” for the audience to notice. Almost every sequel has some sort of moment that connects the film before it. We see Adam Sandler and Drew Barrymore in 50 First Dates and later in the movie Blended. The two movies have nothing to do with each other, in fact each plays two completely different characters, but in one memorable scene at a convenient store we see Ten Second Tom make a quick appearance. Tom comes up to the counter and says, “Hi, I’m Tom.” Twice. At the end of the scene he comes back up to the same cashier and says, “Hi, I’m Tom.” For those who never saw 50 First Dates, this scene means nothing. But, to those who did see it, it is a moment of remembrance, a strong nod to another movie that Sandler and Barrymore both starred in. In Guardians of the Galaxy, the Collector has Howard the Duck, Cosmo the Dog, and even a Chitauri from the first Avengers movie in his collection.
Moments are often hidden but very satisfying when found. Disney is famous for putting in hidden messages or special appearances in their movies. High School Musical 2 has a quick appearance by Miley Cyrus. One of Disney’s newest movies, Moana, has a ton of these “Easter Eggs.” Flounder from The Little Mermaid shows up, Maui turns into Sven from Frozen, Wreck it Ralph shows up in the credits, Baymax from Big Hero Six makes an appearance in the boat filled with angry coconuts as well. These moments are great at beginning conversations, creating buzz, connecting films and shows, and continuing excitement for a franchise. But moments are not just hidden messages or advertisements. Moments are the things that enhance your particular universe, that propel your plot, that give the subtext behind things that are happening.
An example would be a movie with a character needing redemption built into the main plot. As the leads are in a coffee shop, we see a shot of the outside and a church steeple majestically rising in the background. Though subtle, this gives a sense that there might be some religious or even anti-religious themes in the production as that character begins to realize that they need redemption. Stage plays are a little more difficult because your options for set pieces are a little more limited. But moments are still extremely possible. Moments can be created from the action of the cast and not just well-placed items.
In the case of Jesus’ crucifixion, Golgotha was at a place where there was a lot of foot traffic. Instead of a static crucifixion scene, have groups walking past showing different levels of interest. Have one man and young son come by and the father forces the boy to stop and watch the crucifixion. While another, say mother and daughter walk by and the mother shields her daughter’s eyes from the spectacle. This creates movement and these moments can add to the depth of plot instead of being a distraction.
Moments cannot save a movie from a poor plot or bad acting, but it can enhance every aspect of any production. When adding moments make sure they are deliberate. Every set piece, prop, actions of cast members, angles of filming, everything has a reason. People watch all the Marvel movies and wait in anticipation for the moment Stan Lee shows up. You can see everyone in the audience reacting, pointing to the screen as he makes his one or two cameos in every movie. It is a moment that is now expected and a moment that people get to take home and discuss, tweet, and share.
Putting anything from screen to stage or screen is an awesome and great responsibility. If you have taken on this role then it is up to you to do the research, decide how the dialogue is viewed by others, create either a world based on reality or implied reality, and finally create moments that will reach out and make a memory in the hearts of those viewing.
Dr. Jim Tippins is currently President of On the Edge Productions, Inc., a resource for Christian scripts and minister aids. An award winning author, Dr. Tippins is proud to share the stories that God has laid on his heart. He has produced, written, and directed scripts, musicals, reviews, and plays all over the country. He has performed with the Kentucky Opera, Overture Opera Company, Theater of the Republic, Swamp Fox Players, Community Choral Society, Florence Symphony and Long Bay Symphony. To see resources and more information, please visit,
www.ontheedgeproductions.org. Or join his blog at drjimtippins.com
Author coach and creative Shelley Hitz shared her experience with the platform Skillshare, how it has helped her creativity and also serves as a passive income source for her business. Shelley also shares writing tips, inspiration, and encouragement for writers and speakers.
Join us!
Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET on Zoom. Participants mute their audio and video during the filming, then we open up the room for anyone who wishes to participate with our guests. The “After Party” is a fifteen-minutes of off-the-record sharing and conversation.
Additionally, you can grow your network and add to the conversation by joining our Facebook Group.
Two of my “go to” counseling statements are: so how’s that working for you?; and if your best friend in the whole world was going through this, what would you tell them (what advice would you give them)?—aren’t you worth your best, most loving, advice?
The writing life stands poised to strike fear into the most steadfast heart—launching arrows of self-doubt, rejection-terror, and insecurity. What if my work isn’t good enough? What will “real” writers think? There are others more talented and qualified…
What do we gain by remaining paralyzed with fear? Constant stress. Frustration. Loss of joy.
Enough. It’s time to be gutsy and fire our own arrows at those crippling voices—before we’re tempted to walk away from work that should bring passion and life.
Here are three ways to stand strong and keep perspective:
Realize that rejection serves a purposeand pushing through fear makes us stronger.
I’m not afraid of storms, for I’m learning how to sail my ship. –Louisa May Alcott
He who is not every day conquering some fear has not learned the secret of life. –Ralph Waldo Emerson
Recognize that fear suppresses creativity and productivity and hinders our growth as an artist.
Worry is a cycle of inefficient thoughts whirling around a center of fear. –Corrie Ten Boom
It is better to make a thousand failures than to be too cowardly to ever undertake anything. –Clovis G. Chappell
Fear is a self-imposed prison that will keep you from becoming what God intends for you to be. You must move against it with the weapons of faith and love. –Rick Warren
Rely on the faithfulness of the Creator and strive to be good stewards of our gifts.
It’s wonderful to climb the liquid mountains of the sky. Behind me and before me is God and I have no fears. –Helen Keller
Only he who can say, “The Lord is the strength of my life” can say, “Of whom shall I be afraid?” –Alexander MacLaren
If the Lord be with us, we have no cause of fear. His eye is upon us, His arm over us, His ear open to our prayer – His grace sufficient, His promise unchangeable. –John Newton
Being confident of this, that he who began a good work in you will carry it on to completion until the day of Christ Jesus (Phil. 1:6).
One more quote relevant to the writer’s journey:
The fear of man strangles us, because we can never please everybody; but the fear of the Lord frees us, because it challenges us to live and serve for an audience of One. –Paul Chappell
Fire the laptop. Prime the pen.
Remember the audience of One and keep writing!
[bctt tweet=”Recognize that fear suppresses creativity and productivity @A3Writers @LThomasWrites #Writing #Publishing” via=”no”]
[bctt tweet=”On Writing: 3 Antidotes to Fear @A3Writers @LThomasWrites #Writing #Pubtip” via=”no”]
Girl Meets Boy. Lots of problems. Finally, Girl Gets Boy. That’s my new formula for romance writing. Most readers of romance in any genre, historical or contemporary, are women. [bctt tweet=”We women love our plucky leading ladies. There must also be an equally astounding, strong, sensitive, and courageous leading man to compliment her.” username=”@donnalhsmith @a3writers”] #amwriting #writingromance101
I started working as a professional writer when I was seventeen. So completely captured by the craft, I made the decision to make it a big part of my life. As exciting as it is to be a young author, I learned quickly that writing comes with a lot of unique responsibilities. Responsibilities I didn’t fully understand before I signed a contract.
Recently I went to see the new Spider-Man: Homecoming movie. As a chick flick girl, I didn’t expect the movie to touch me the way it did. But halfway through, I started to identify with Peter Parker in a way that surprised me. Outwardly, Peter was living the life of a normal high school kid, but inwardly he was carrying the burden of a heavier responsibility. Just like a teen writer.
Here are some ways that being a teen writer is like being Spider-Man:
You’ll Miss Out on High School Fun
Peter Parker (Spider-Man) chose to skip out on parties and everyday teen life because he knew saving the world was more important. In the same way, writers choose to value their ambitions over a little teen fun. This doesn’t mean you won’t be able to relax now and then, but it does mean that sometimes you’ll have to meet that deadline instead of hanging out with friends.
(Your friends will understand.)
Revealing Your Secret Identity Could be Devastating
Although I enjoy telling people about what I do, revealing my author identity isn’t always in my best interest. I am an introvert, after all. Many people don’t know a real author. When they find out who you are, they might crowd you. “What’s your book about?” “Is your character anything like you?” and “When can I read it?” are all common and predictable questions you’ll receive if you become a professional writer. Though these questions are genuinely appreciated, they might wear you out fast. You have a responsibility to yourself to make sure you don’t get overloaded by people’s opinions and expectations. Keep it simple. Be discerning. If you don’t feel comfortable telling someone the intimate details about your novel’s inner workings, it’s okay to cut the conversation short.
You’ll be fighting More Than Bad Guys
In Spider-Man: Homecoming, Peter Parker isn’t only battling The Vulture. He’s also fighting against his own rebellious teenage heart, and he’s facing the world’s cruelty head-on. Every day, he looks at levels of evil that his peers don’t even know exist.
As Christian writers, our task is to ultimately share the gospel through our work. Believe me when I tell you the enemy will be attacking you like crazy. Especially during big events in your career, expect the adversity to be there. Not only will you be responsible for meeting those writing deadlines (fighting The Vulture), you’ll also be carrying the weight of the world at times (spiritual attack).
Do you remember in the beginning of this post when I said I was completely captured by writing? I am. That’s something Spider-Man and I have in common, too. Peter Parker was so passionate about Spider-Man’s mission that he was willing to sacrifice everything for it. As a teen, I chose to be a writer because I know that despite the unique challenges and responsibilities, writing is something I’ll always be willing to sacrifice for.
Stephanie is a professional writer and journalist living outside of Buffalo, New York, where it probably snows a lot. She’s pursuing publication for her first novel, Reaching Home, and she spends her quiet moments writing poetry and blogging about her adventures with God. Stephanie has a heart for sharing real stories and encouraging authors to write for Jesus and love what they do. She’s a big believer in hard work, audiobooks, and chocolate, and can usually be found changing the world somewhere.
Last month we shared Part 1 about the categories assigned to children’s books.
We’ll now share more details about each category. Remember—these are not hard and fast rules. Publishers change these categories to meet the needs of their readers. But they ARE good guidelines for writers.
First Books – Board Books – Concept Books
Come in all shapes, sizes, and colors.
Often use specialty materials/productions that children can feel, smell, touch, hear, etc.
Made to be durable.
Often assigned by publishers to one of their own authors/illustrators.
Present concepts connected to the young child’s world.
Must give the young child an emotional connection to the book.
Must evoke feelings in the young child, nurture a young child’s curiosity, engender pride, engage minds and emotions.
Deal with universal themes: loss, fear, love, anger, loneliness, joy, curiosity, anxiety, etc.
Use literary devices, rhyme, meter, wordplays, imaginary words.
Invite the young child to participate in the story. Ask questions. Elevate children’s common experiences into something magical.
Picture Books ages 3 – 6 and 4 – 8
Most are 24 or 36 pages (including beginning & ending pages). Sometimes they are 48 pages and written for older readers.
Deal with universal themes: loss, fear, love, anger, loneliness, joy, curiosity, anxiety, etc.
Use imagination to elevate children’s common experiences into something magical.
Tell a simple story (no sub-plots) that presents an MC with a problem. He/She finds their own solution to that problem.
800 words or less.
Emphasizes nouns and verbs.
PBs are collaborations between author and artist. Words tell less than half of the story. Illustrations tell the rest.
NOTE: Rhyming PBs are difficult to write and to sell. The rhyme and rhythm must be perfect. Use of other literary devices is required. The STORY must take precedence over the poetry. Both story and poetry must be outstanding for the book to be publishable.
Easy Readers ages 5 – 9
Usually 1000 – 1500 words. 32 – 64 pages in print.
Some have chapters which are actually individual stand-alone stories about the same characters, some don’t.
They are written on one of three separate reading levels with its own controlled vocabulary.
Format (size of the book, size of the type, amount of white space, etc.) is controlled to assist emerging readers.
Chapter Books ages 7 – 10
Most are 1500 – 10,000 words. 40 – 80 pages in print.
Usually divided into 8 – 10 chapters which add to one main story.
Plots can be a little more complex with simple subplots.
Use lots of dialogue.
Vocabulary is challenging for target readers but still controlled.
Some chapters end with cliff-hangers.
Middle-Grade Novels ages 9 – 12/13
Most are 10,000 -16,000 words. 64 – 150 pages in print.
Use a wide vocabulary and subplots.
Often silly or funny even if they deal with serious themes.
They emphasize characters over action.
Most chapters end with cliff-hangers.
Young Adult Novels ages 12 and up:
This genre is subdivided into Young YAs and Older YAs by subject matter, themes and use of graphic or explicit language.
Older YAs deal with almost any subject that adult novels deal with, and use just about any language and depict any scenes that adult novels use, but often to a lesser degree.
In Young YAs authors and publishers are more careful to avoid mature subjects, language and references to sex, drugs, alcohol and violence.
NOTE: Christian publishers of YAs have different standards for what they will and will not publish in their books. Follow their guidelines exactly if you want them to consider your manuscripts. Read several of the YAs they have published recently before submitting your manuscript.
As a pre-teen, Jean Hall dreamed of being an architect or an interior decorator. As a high school student, she dreamed of being anything BUT a teacher. As a college student, she dreamed of being a vocalist. As an “over-fifty” woman she dreamed of writing stories for children. But, as life unfolded it seemed that none of those dreams would come true.
But,
Jean spent twenty-six years teaching children and teens–and loving it!.Then twenty more years teaching women’s Bible studies. She never designed a house, but she lived in, and decorated on a shoestring, more than a dozen houses. She never performed before thousands, nor recorded any music. But she sang hundreds of times leading people in praise to the LORD. Now, she is working hard and trusting God to lead her down the road to traditional publication.
Sometimes our dreams come true in ways we couldn’t imagine.
It is Jean’s daily prayer that The Christ within her shines through the cracks and broken places of her dreams and that Christ shines through the things she writes to uplift, encourage and inspire others.
The trickiest part about conveying confusion is to convey it clearly, without confusing the reader. Ann Hood in Creating Character Emotions
From time to time our characters will be confused about something. Perhaps they’ve made assumptions that suddenly turn out to be incorrect. Perhaps someone says or does something that doesn’t make sense. Perhaps another character is intentionally trying to confuse them.
Whatever the situation, the writer must take pains to make sure the reader know what’s going on, even when the character doesn’t.
Two common pitfalls when portraying confusion:
Sensory overload. Hit a character with enough simultaneous noises and actions and they’ll certainly become confused. However, the reader will be just as befuddled by the mass of details.
Example: Halfway to the mailbox, Sara heard her ringtone and rushed inside. Where had she left the phone this time? She almost tripped on a shoe her son had left by the front door, which woke the dog and started him barking. Gritting her teeth, Sara ran past the stupid dog to the kitchen in time to see her two-year-old dump an open box of cereal onto the floor and break into wails.
A vivid portrayal of confusion, but the reader doesn’t understand what it means unless the writer also shows what emotions the chaos creates for Sandy.
Information that is meaningless to the reader. When you confuse a character with information he doesn’t understand, make sure the reader has an inkling of what it means.
Example: Jared unfolded the piece of notebook paper. Who was K. and why had she stuffed a note in his locker? What did she mean by ‘see you after school at the tree’? Which tree? There were like a million trees in this neighborhood alone.
Unless your readers know more than Jared, they will be just as confused as he is.
[bctt tweet=”Don’t make the reader befuddled just because your character is. #writers ” username=””]
Better strategies for portraying confusion:
Let the reader in on the joke. Characters often mistakenly believe an action or comment means one thing, when in fact it means something else. Readers, however, don’t enjoy being purposely led astray, so make sure the reader is aware (or at least suspects) that the character is making a mistake. In example two above, imagine how much better it would work if the reader knows that K’s friend has the locker next to Jared’s. Now, instead of making the same mistake Jared makes, the reader will grin in anticipation for the awkward scenario to follow.
Show the emotional source of the confusion. What readers really want to understand is why a character acts the way she does. I might improve example one by adding some of the emotions underlying the confusion, like this:
Example: Halfway to the mailbox, Sara heard her ringtone. Why did she always forget to put her phone back in her pocket? She hurried inside and almost tripped on a shoe her son had left by the front door. Uh oh. It wasn’t her turn to pick up the kids, was it? She couldn’t afford to forget again. She rushed into the kitchen. Thank the Lord, only one-fifteen. So who was calling at this hour? Had she forgotten an appointment?
Show the character’s thought process as he tries to make sense of things. As the character works through a situation that doesn’t make sense, he naturally portrays confusion without the writer ever having to say as much.
Example: Jared unfolded the piece of notebook paper. Who was K. and why had she stuffed a note in his locker? Kayla was the only girl he knew whose name started with K, and she would never use sparkly pink ink. Maybe someone meant to put it in Tori’s locker instead? But how was he supposed find out? There was no way he was going to show the note to a girl as popular as Tori.
[bctt tweet=”Confused characters. We love them, just so long as they don’t confuse us, too. #amwriting” username=””]
[bctt tweet=”Pitfalls to avoid when writing portraying confused characters. #writetips #writer” username=””]
Hartline Literary Jr. Agent Cherrilynn Bisbano shares an in-depth look into the world of book proposals.
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Have you memorized the list of prepositions yet? Trust me, quickly recognizing prepositions will help you in the long run because we’ll be layering more grammar knowledge based on the use of prepositions.
In the last post, we studied prepositions and prepositional phrases. Remember, a phrase is a group of connected words that doesn’t contain a subject or a verb.
This time we’ll discuss subordinate clauses that begin with prepositions.
Technical writing is a different kind of writing. As a matter of fact, it is a very different kind of writing. It is different from fiction, which primarily focuses on entertaining the reader with intriguing stories and absorbing plots. It is different from non-fiction, which seeks to both entertain and educate by employing fact-based narratives. But unlike fiction and non-fiction, technical writing is never read for enjoyment.
