From School Principal to Thriller Writer--The Grassroots Journey of Andy Rose

In 1967, Andy Rose started working as a fifth-grade teacher in the impoverished Lower East Side of Manhattan. The children in his classes were predominantly illiterate and presented many learning issues.  Andy immersed them in daily readings of literature, used humor and passion to motivate them.  He found them wonderful to work with--their spirit was indomitable--and thirteen years later, he became principal of the Norwood Public School in Bergen County, New Jersey.  He served as its chief school administrator until 2009.

During the last decade of Andy's career, he read the works of Nelson DeMille, Dan Brown, and John Grisham. Their thrilling novels provided welcome escape from his 24/7 responsibilities as leader of a public school district. When he retired, images and stories about teachers and school children filled his mind. Characters and an inner city school setting began to emerge. It felt natural to write about schools and to portray teachers, instead of James Bond, as heroes.

But a major obstacle:  Writing fiction was very different from writing reports for a Board of Education, press releases, and analytical articles for local newspapers.  

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The Intriguing Structure of Claire Dederer's Poser--How to Link Different Topics, Timelines, and Themes in a Memoir

Author Claire Dederer came to book-writing after being a journalist for about twenty years, working as a reporter, critic, and essayist.  She began as a film critic then developed into a book critic and a writer on culture. Poser, her 2010 memoir, weaves together several disparate topics:  yoga, motherhood, the legacy of 1970s feminism.  I interviewed Claire this week to find out how she decided to structure Poser around all these themes.

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Pros and Cons of the Workshopping Method--And How to Manage Feedback So You Keep Writing

We all have war stories from bad feedback.  If you've been writing and attending conferences or classes for more than a few years, you know the range of possible reactions to workshopping your stories:  from annoying to devastating, from "Let's ignore that comment" to "I'll never touch that piece again."

We're all searching for supportive (but not coddling) and careful readers who respect our ideas yet offer good ones of their own. 

Where to find this kind of feedback?  Some people get it from a writers group.  Some get it from workshops and classes.  Some exchange writing with a feedback partner.  Whatever works!  As long as the comments open you to new insights, keep you writing, keep you enthused and engaged with your own writing, they are useful.

But all of these methods are based on vulnerability--sharing ideas and images and attempts with people who don't see the full vision you do.  And most of these employ something called the "workshopping method," which has its pros and cons.  How do you set yourself up for success?  For the best possible outcome with the least risk?  It's not easy--but there are definitely things to embrace and things to avoid when workshopping your writing. 

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Crafting Your Book's Visual Map--New Ways to Use a Storyboard

Storyboards are a fast and easy template to check the strength of a book's structure.  More and more writers use them.  I hear about famous authors who now "design" their books via a storyboard.  It's a classy idea whose time has come.

Filmmakers will be yawning here.  Storyboards are the basis of most films--they are like cartoon boxes that show the scenes and can be rearranged to create the best flow. 

But book publishers use them too.  Twenty years ago, I hired on every six months to an all-day storyboarding session for a Midwestern small press.  Eight "experts" gathered in their conference room, bolstered by coffee and snacks and catered lunch.  A facilitator drew the empty cartoon boxes of our blank storyboard on one wall, gave us our topic, and off we'd go. 

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Using an Image Board to Get Closer to the Meaning of Your Story

Guest Post by  

Memoirist and Singer/

Songwriter Elisa Korenne

Elisa Korenne entered the creative-writing world as a songwriter.  

She'd written a lot of prose up to that point, mostly in the form of academic papers, but it was songwriting that acquainted her with the thrill of word textures, imagery, and choosing the right word for the right moment.   In this guest post, she describes her writing process and how she uses image boards to get closer to the meaning of her story--and her songs.

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Cyber Inspiration--Great Author Websites and Bios to Kick Yours into High Gear

Nicki, a blog reader from South Carolina, is putting together a website for her book.  She wondered about great author websites or tips for putting together an author bio.   

Both are an essential part of an author's platform, a requirement for writers today.   

If "author's platform" is new to you, here's the short definition:  The stage you'll stand on, as you market your new book.  If your platform is solid, if it's developed at least a year before you publish, you'll likely garner more of those reviews, bookstore sales, internet sales, and interviews that will put your book in the hands of readers.   

You'll need to show agents and publishers that you're standing solid.  An engaging author bio and website are also part of your submission package to agents and publishers.

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Who's on First? Power in Characters and Power in Locations--How Good Pairings Raise Tension in Your Novel or Memoir

  

A writing rule I wish I knew when I started out:  to create tension in your scenes, two or more elements of power must be combined.  "Power" in literature means the ability to evoke change in the status quo.  If you play it safe, you'll keep this from happening with your characters or locations.   

Your writing will lack tension to drive forward, to become a page-turner, to irrevocably engage a reader's interest.

The writing rule about power is an antidote to the unconscious desire to play it safe--which many writers struggle with.  This rule reminds you to make sure each scene has at least two power elements.  Three is even better.  You want that itchy friction that keeps a reader wondering what's going to happen.   

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Writing Emotions into Your Book: How Being a Good Observer Brings Your Characters--Real or Imagined--Alive

Emotions reveal us, but we don't often reveal our emotions.  Players on your page are the same.  They show us who they are via movement, quirks, gestures, what they notice around them, their history, and many other aspects--rarely through straight-out delivery.

So a writer has to both observe and write the signals of emotion.  Characters who are well observed come alive for the reader.     

But we writers get lazy.  Just as we take real-life friends and family for granted--and stop seeing their uniqueness--we can fall into routine with our characters.  We copy characteristics in people we know, or we use stock images for emotions without trying hard.  Our observations grow limited and (to the reader) boring and predictable.

This creates what's know as the "flat" character.  The antidote is to let yourself really observe, so you can see around the stereotype and create fresh, original characters.

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Dialogue Do's and Don'ts: Crafting Lively and Believable Back-and-Forth on the Pages of Your Book

Writing dialogue should be easy, right?  Most of us talk.  We text, we email, we use words in conversation all the time.  We listen (sometimes) to other people talking.  Dialogue runs through our thoughts all day, every day.  So why isn't dialogue on the page just a matter of listening well and copying down what we hear?
 
Literature has different rules than real life--obviously.  Dialogue on the page has different rules than spoken dialogue.  It makes sense.  What we read must present high stakes, tension, and not give it all away--otherwise, why would we keep reading? 

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If You Want to Quit Your Day Job and Be a Full-Time Writer . . . Is It Possible?

In 2004, I decided to leave my full-time editing job at a small publishing company in the Midwest, move to New England and go back to school for my MFA degree in fiction.  I'd been at my job for eighteen years, and it was a good job, with great people and tasks I enjoyed.  I'd learned so much working with the editing team, but I'd come to a place where I wanted very much to test the waters, see if I could create/write full-time, have as much space and energy as I wanted.

A collection of short stories and a couple of novels were simmering.  I also needed more advanced skills, so the MFA program felt like the next step.

Wonderful dream.  Instant upheaval.  Not only did I immediately lose benefits and salary, I had too much time on my hands.  That totally astonished me--that, left to my own devices with unlimited time, I fell into a rather uncomfortable state. 

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