Scrivener--My Favorite Software for Organizing a Book

Before I wrote books, I wrote stories, essays, poems, columns, and articles.  Short stuff.  Short stuff doesn't require that much organization.  I had a good word -processing software.  I kept files of the multiple versions of my short stories, for example.  I used a spreadsheet to track where I sent writing and what happened to it.

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Pitch Conferences: How to Meet and Greet with Agents

Many of my students and clients are signing up for spring pitch conferences, where they hope to pitch their book to a few agents.  These "meet and greet" events are currently one of the best ways to get face-to-face with agents, hear them talk about their lists (the books they represent) and preferences, and learn about the publishing industry today.

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Gratitude Game--Celebrate What's Working in Your Writing Life

These past few weeks, I've experienced an unusual stall-out in my writing.  I couldn't locate any still point inside, or that "necessary boredom" that writer Dorothy Allison says is a prerequisite to writing well.  It was as if my creative heart was too sore to create. 

I knew that writing could actually be the way to come back to myself, get away from the incessant barrage of crises.  But I was hard pressed to find the way in.

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Tips for Making Your Characters Vivid Individuals on the Page

A MG (middle-grade fiction) writer in one of my online classes posted a great question this week:  How do I make my characters more distinctly individual?  Different from each other, enough to be vivid individuals on the page?

Developed characters, fictional or real, should be distinct from others in the story.  If they all blur together, it's hard to make them come alive for the reader.  Developed characters have backstory, a history that informs their story decisions.  They have certain quirks, a way of moving, a way of standing or using their hands. 

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One Step Forward, Two Steps Back--Getting Your Work Out in the World

It's been an up and down week.  I got news on Monday of a student whose short story was accepted by a very prestigious journal and who'd been nominated for an equally prestigious award.  I also heard from three clients whose books were accepted for publication this month.  Very sweet. 

I also got an email from a student, raw from having pages of his manuscript critiqued by two colleagues at the university where he works.  He was soldiering on but underneath his good questions--how seriously do I take these comments?--I could hear the discouragement.  "It's like that old Bruce Springsteen song," he said.  "One step forward, two steps back."

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Nonfiction Book Success--The Challenge of Telling Someone Else's True Story

One of my favorite kinds of emails come from past students in my book-structuring classes whose books are being published.  Three such emails came to my inbox this week, and I wanted to share the story behind one of them in this week's blog.

When I first met journalist Ed Orzechowski in one of my classes, his book project fascinated me.  It wasn't an easy task to write a true story about a patient at the infamous Belchertown institution.  But Ed persevered.  You'll Like It Here, the true story of Donald Vitkus, patient #3394, is being released this month from Levellers Press.  I asked Ed to share some of the process of building a book on someone else's true--and horrific--story. 

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Dreams--The Delight and Danger of Using Dreams in Your Story

Dreams are a big part of my personal life--I've recorded my dreams since I was in college.  But I use them very sparingly in my writing.  Why?

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Using Poetry Even If You're Not a Poet--What Poems Do for the Creative Brain

I'm only a marginal poet.  I've had one poem published and written maybe ten others, kept in a drawer.  But I love reading poetry.  It does something weird and wonderful to my brain.

In honor of Bob Dylan receiving the Nobel Prize for "having created new poetic expressions," I wanted to share this poetry experience and an exercise for this week. 

Recently a poet friend moved.  I visited her and took home two bags full of poetry books.   Collections from some of my favorite poets but also books on why we write and read poetry.  I'd just sent in my novel and was waiting for agent feedback so I felt kind of dry--desert-like, actually.  I wanted to get moving on the next book, all set up in Scrivener and waiting for me.  But I needed a little inspiration.

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Paragraph and Line Lengths--How They Affect Your Story's Pacing

I never paid much attention to paragraph or sentence lengths.  I just wrote, felt satisfied if I got the story down.  Then, in the late eighties, I got a job as a editor at a publishing company in the Midwest. 

As an editor, I noticed that I had a visual reaction to a person's writing:  how it looked on the page, how dense or light.  How much white space or how much text.  Even before I began to read, I had a sense of whether I would be engaged, just by how the text looked.

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Kid Lit! Writing for Different Young Readers--Who Is Your Best Audience?

Many writers want to write for kids.  They raised their own children on books, maybe thought I can tell a good story, too!  Or they love to illustrate for kids and want to fashion a story around their illustration.  I get lots of questions about kid lit, what ages to gear a particular story to, how to sell your children's, middle-grade, or young adult book these days.

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