Using Pause Breaks to Strengthen the Pacing of Your Story

Right now, I'm working with a writer who is studying pacing:  specifically, how to pace her chapters.  She tends to deliver too much--too many images, too many ideas, too much happening--all at once.   It feels like a freight train coming at the reader.

So we're studying the writerly device of pause breaks.

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Writing against an Edge: How to Push Your Intimacy on the Page

On Sunday, I'm heading to Madeline Island, a lovely spot in Lake Superior that happens to house an equally lovely arts school where I've taught every July for the past seven years.  Because I have a group of very edgy and wonderful writers coming for the week-long retreat, I've been thinking about edges.  How they exist in our writing and our lives.  How we push against them to establish our authenticity and intimacy on the page.

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Where to Begin Your Book: How to Choose the Best Opening

Lots of writers struggle with the opening to their books, no matter what genre.  I'm working with one client in my retainer coaching program who is writing a very large story--it spans thirty years or more.  It's a memoir, and a lot has happened to her in her long life, so choosing the starting moment is very challenging for her.

We begin by asking what this book is about.  "My life," she answers, and that's true.  But I ask again, "What's it really about?" 

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Summertime, and the Writing Is . . . Gone? Five Ways to Fit Writing into Your Crazy Life!

This week, try one of these five ways to fit writing into a busy summer life.  They've all worked beautifully for me--and I still get time to enjoy that camping trip!

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Writing More Than One Book? How to Storyboard with a Sequel in Mind

Annette from the UK recently sent me this question:  "I'm currently reading Your Book Starts Here, plus I've been watching your storyboard videos on YouTube. You've helped me come unstuck after years of block with my half-written 'epic', which feels amazing!  I'm writing to you because I'm struggling with how to apply the W structure to a two-book story."

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Time Markers: How to Keep a Reader on Track with Your Story

A few months ago, I began exchanging chapters with a writer who has an incredible skill with something called "time markers."  I feel very lucky to have her reading my chapters with time in mind.  She has caught my natural sloppiness the way a good editor might, saving me and my reader from going off track and losing the story thread.

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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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