The Push to Do Risky Things with Your Writing

Risk is a place where many creative writers live.  We may not enjoy it but we have to take risks to grow as writers.  It's a risk every time we send our work to someone for feedback, take a class, approach an agent, or even when we finally get our books published.  

Each risk takes us outside our comfort zone.  But I find risk an essential element in my writing life.  Without it, I repeat and repeat.  I never get better.

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Seven Days to Getting Unstuck with Your Writing

One of my students recently emailed me about being stuck.  He's worked on his novel for several years now, relying on workshopping feedback to keep him accountable.  Recently he got some feedback from a hired editor and, although he totally agreed with the comments and knew the editor had nailed one of his manuscript's major weaknesses, he got stuck.

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Thematic Threads: How to Build Them in Your Fiction or Memoir

When we finish a good book, something lingers with us.  A friend notices how we're still wrapped up in the story we just read.  She asks, "What was it about?" and we try to answer.  "It's about a woman who travels to India," we say, "but it's much more than that.  You have to read to understand."

That's theme.

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When Does Your Inner Critic Appear? Three Scenarios of Self-Sabotage and How to Renegotiate Your Contract

Scenario #1:  The new chapter draft is going pretty well.  You're writing steadily, enjoying a renewed commitment to your book.  Suddenly, from some dark place in your mind, a switch goes on.  An unrelated thought or feeling slips in.  Maybe something you forgot to do or say.  A small mistake or failure.  The thought distracts you and you slowly leave the story flow.  You begin to hate the writing--or at least, it feels less delightful. Even a little boring, unoriginal?  You're derailed.

Scenario #2:  You give a chapter draft to a friend, spouse, relative to read.   You're pleased with it.  You imagine they will be too.  Maybe even impressed.  They bring back comments.  Even if they say, "I loved it," a flood of (1) fear, (2) anger, or (3) shame hits you.  You can't bear to look at the writing, to use their suggestions.  It's all sucky anyway, and you really shouldn't waste your time.

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Character Loops--Reader-Pleasing Techniques for Using Characters in Your Story

I'm getting ready to teach a new online class this summer (starting June 8) about characters, so I'm having fun going through all my techniques, tips, and exercises learned and taught these past twenty years, trying to find

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My Favorite Tool for Checking Story Sequence

Two of my private clients are working on nonfiction books.  They have a ton of expertise to share, but they normally teach in person, so putting their techniques and theories into a logical sequence on the page has proven challenging for both.  They found my website and decided to work with me to check the structure of their books-in-progress.

I start them with basic structure analysis techniques, which I learned as an editor at different publishing houses.  Most writers just write--they don't necessarily know anything about structure.  Editors used to take care of that, but they don't anymore, so we writers must learn to analyze the structure of our own books and get them in shape before we submit the manuscript.

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Writing versus Structuring--Why Both Are Important and How to Toggle Between Them in Your Writing Sessions

John, from Texas, is writing a memoir--his first book.  He's a good writer and he's accumulated about 30,000 words so far, writing in what he calls "flow writing," where he just sits down each day and lets the memories pour onto the page.

John's story is good--riveting, in fact.  But a few months ago he reached a point of being confused about where he was going with the book.  He'd written as much as he could remember, but now he felt stuck.  He found me through my website and contacted me for private coaching. 

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How to Use Different Points of View in Your Story

Teri, a blog reader, sent in a great question about points of view.  I've gotten variations of this question often in my online classes.  Teri's two narrators switch back and forth, alternating chapters. 

She wondered if she needed to make their amount of chapters equal.  Does she need as many chapters from her male character's point of view as from her female's?

Variations of this question crop up often in my online classes. 

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Tips on How to Read Your Own Work Objectively

Mary Beth is working on a memoir and has taken my online classes and my week-long writing retreat in Tucson.  She's got a solid draft of her manuscript and is now going through the chapters, revising and tightening the focus.  She emailed me recently with a great question--something we all run into.

"How can a writer learn to read her own writing from a reader's eyes/brain/comprehension?" she asked.  "When I reread my work--it's me --how I write.  I'd like to be able to reread it and go 'You're doing the same thing.  Change this or that.'  Maybe I'm looking for a magical way to reread my work."

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How Do You Find a Good Editor--When You're Ready for One?

Kathy, a writer who has attended my Madeline Island retreats and online classes, has almost reached the finish line with her memoir.  

I've watched her work hard over the past few years, creating a strong structure for her book, workshopping her chapters, and fine-tuning.  She wrote me this week about her recent trials, trying to find a good copyeditor who will help her catch errors and get the manuscript ready to submit.

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