PITCH WARRIORS (to the tune of Queen's "We Are the Champions")

Dedicated to all Pitch Warriors and hopefuls out there fighting the good fight (or writing the good write), by Susan Gray Foster

I’ve paid my dues

I’ve done my time

I’ve worked for years

Never making a dime

And bad mistakes

I’ve made a few

I’ve told instead of shown and I’ve used lots of filter words too

(And I need to just write on and on and on and on)

We are Pitch Warriors, my friend

And we’ll keep on writing till the end

We are Pitch Warriors

We are Pitch Warriors

No time for losers

‘Cause we are the writers of the words!

I’ve been rejected

I’ve rewritten it all

But I’ve had CPs and my awesome mentor

I thank you all

Still it’s been no bed of roses

No pleasure cruise

I consider it a challenge before the whole publishing world

And we ain’t gonna lose

(And I need to just write on and on and on and on)

We are Pitch Warriors, my friend

And we’ll keep on writing till the end

We are Pitch Warriors

We are Pitch Warriors

No time for losers

‘Cause we are the writers of the words!

susangrayfoster.wordpress.com

@susangrayfoster

A STORY IS A PROMISE

In A STORY IS A PROMISE, Bill Johnson examines the right way to open a story. And that’s important information to have. But as a PitchWars mentor, I’ve read hundreds of opening chapters and find that the same kinds of mistakes show up time and time again. With that in mind, I’ve put together a handy checklist of several ways to avoid writing the wrong opening. Ready? Let’s go!

The story starts in the wrong place

Occasionally, the story starts too late. When this occurs, the reader doesn’t have enough information to understand what is happening and/or they don’t have enough information to care about the main character. Most often, stories start too early, burdening the reader with pages and pages of material that don’t signal where the story is going or drive it forward in a meaningful way. (The best way to know if you’ve started in the right place? Share your work with critique partners and beta readers.)

The story lacks emotional resonance

There may be all sorts of exciting, dangerous, or even sad things happening in your story. But if we don’t know how these plot points impact the main character on a personal level, it makes it hard for us to buy into their journey. Give us a reason to care.

The story lacks tension

It’s easy to mistake tension for drama or action. Consequently, readers who are writing quiet (character-driven) stories sometimes mistakenly believe that their stories don’t need tension. But tension is what drives a story. Tension doesn’t have to mean running from bad guys or a storm brewing on the horizon. Tension means that there is some type of conflict—which can be internal, external, or both––driving the story forward. Otherwise, there is no reason for the reader to keep turning the pages.

The writer tries to play coy

Writers often try to hook the reader by dangling a carrot in front of them—referring to an incident that they assume will pique the reader’s curiosity and make them want to continue turning the pages. But often, these carrots confuse the reader and they end up setting the book aside. The line between hooking the reader and confusing them can be a very difficult one to walk, and CPs and beta readers play a crucial role in helping the writer get it right.

Too much backstory

If you’ve followed the PitchWars hashtag for any length of time, this is one that you’ve undoubtedly seen come up again and again. Don’t make the mistake of bogging down your opening pages with tons of information that the reader “has to have” to understand the story—if they really, truly have to have all of that information, then you’ve probably opened your story in the wrong place. But the chances are, the reader doesn’t need nearly all the information you’ve stuffed into your opening. Cut most of it, and leave only that which the reader absolutely cannot move forward without. (How do you know if you have the right balance? CPs and beta readers, of course. Noticing a theme here?)

First Day of School Syndrome

Stories that open on the first day of school are extremely common. As such, it’s exceptionally difficult to write a scene that feels fresh and engaging. The same goes for opening with dreams (in addition to signaling that you are a new writer, this technique causes the reader to feel like the writer has pulled a bait and switch, and they lose trust in the writer. Don’t take that risk). Another opening mistake along these lines—having the character gaze into a mirror. Find a more original way to convey the MC’s appearance.

Make sure your story doesn’t fall into any of the common opening traps, and you’ll be several steps closer to writing a solid opening that delivers on its promise to the reader. (Hopefully you’ve also walked away from this with a sense of how important critique partners are to the writing process. More about that here.)

Happy writing!

Posted by: Jessica Vitalis

A jack of all trades, JESSICA VITALIS worked for a private investigator, owned a modeling and talent agency, dabbled in television production, and obtained her MBA at Columbia Business School before embracing her passion for middle grade literature. She now lives in Atlanta, Georgia, where she divides her time between chasing children and wrangling words. Her debut novel, NOTHING LIKE LENNON, is currently out on submission. She’s represented by Saba Sulaiman at Talcott Notch and would love to connect on Twitter or at www.jessicavitalis.com

F Words And Other Writing Mishaps

Few writing rules have ever resonated with me more than this one:

Chop the filter words!

I credit New York Times bestselling author Susan Dennard with opening my eyes to filter words, once upon a very long time ago. (FYI, for those who are unfamiliar with Susan, her amazing blog is like an online writer's manual, with tips on writing, revising, queries, synopses. It's crazy how much stuff she covers. ) Filter words are words (often verbs) that distance the reader from the character--in effect, they offer a world filtered through the character's eyes, rather than creating a direct picture for the reader to absorb himself/herself. Without these filter words, our language would be much more immediate and the reader would experience the actions/environment/emotions firsthand, as opposed to getting it second-hand from the character. Think of it this way: a friend tells you how spooky her experience at a haunted house was, OR that same friend walks you through the haunted house so that you can experience it along with her. Which example do you think would scare the pants off you?

Filter words include see, hear, think, touch, wonder, realize, watch, look, seem, feel .....and many, many more. The list is not exhaustive.

For example:

1. Using a filter word: She looked elated, clapping her hands together and squealing in glee.

    Without a filter word: She clapped her hands together and squealed in glee.

2. Using a filter word: The rain seemed to coat his skin until he glistened.

    Without the filter word: Rain coated his skin until he glistened.

3. Using a filter word: I heard thumps coming from the kitchen. I felt pure fright.

    Without the filter word: Thumps echoed in the kitchen. Pure fright washed over me.

As the third example above shows, without using filter words, you often have an opportunity to use more impactful verbs to convey the tone of the scene.

Unless the filter words are critical to the meaning of the sentence, ditch 'em. They more than likely don't add anything to your narrative, and actually wind up preventing your reader from fully connecting with the main character.

For a more in-depth read, click here for Susan Dennard's original post about filter words.

Happy writing!

Finding and Working with a Mentor

By Susan Gray Foster

My mentor and co-mentor, Mónica, and I met up on a beach in Florida.

Pitch Wars 2016 is just around the corner! One of the best features of the Pitch Wars contest is that writers get the opportunity to work with mentors who help them strengthen their manuscripts before submitting to agents. Best of all, writers can choose which mentors to apply to. That way, if they are selected as mentees, they know they’ll be working with someone whose opinions they value.

So how does one go about deciding which mentors to apply to, and how, exactly does having a Pitch Wars mentor work?

Since I had the tremendous good fortune to be selected as a mentee in 2014 and as a co-mentor in 2015, I thought I could share some tips from both sides of the Pitch Wars experience.

***Opinions are mine; please refer to Brenda Drake’s website for all official Pitch Wars rules, information, and guidelines.***

How to choose

The process begins when mentors’ wish lists go live on July 20. Brenda’s website will have links to all the mentor blogs, and each mentor will post a brief bio and detailed information about what categories and genres they are seeking, taste preferences, expectations, and other useful tidbits. So, of course step one is to read the mentor wish lists!

You will definitely want to take notes, and using a spreadsheet or some sort of organizational system will help track mentor information. You can immediately narrow your mentor list to those seeking the category and genre you write. (Seems obvious, but there are always a few wasted entries submitted to someone not mentoring that genre.) If a mentor mentions special interest in something specific that your manuscript has (could be horses, a particular period setting, LGBTQ, rare fairy tale retellings, etc.), that’s a strong indicator that they might be a good choice for you. Mentor wishlists may also discuss mentoring style, and you may get a sense of personality. In addition, some mentors take part in Workshops (on Brenda’s website), and Live Chats. These are great sources of information about the mentors and their styles and personalities.

Stalking Researching

Once you have a “short list” of potential mentors who are seeking the type of manuscript you’re writing, you will probably want to do a bit of stalking on twitter and/or other social media sites and blogs to find out more. You can check out any books mentors have published or that will be coming out, who their agents are, and who they’ve mentored in previous years. All these tidbits may leave your head spinning, which is where a good note-keeping system can be a huge help.

Finally, for mentors who have been involved with Pitch Wars (or other contests) in previous years, I highly recommend checking out their previous entries. This is what lead me to apply to the person who ultimately became my mentor (and now co-mentor) Mónica Bustamante Wagner. I loved the writing and concept of her previous year’s entry, and I figured that if we had similar taste in that respect, then there was a better chance that she would like my manuscript. Furthermore, I felt I could confidently rely on her judgement, knowing that she had similar values in terms of story and writing style.

Now what?

So you’ve applied to carefully-selected mentors, and you’ve waited through the grueling weeks until the mentor picks are revealed, and—HURRAY!!—you’ve been selected as a Pitch Wars finalist! Now your mentor will provide you with feedback to help you take your manuscript to the next level.

I was beyond thrilled when I received feedback from my mentor, Mónica; I knew, immediately, that she had discovered the key to fixing an issue that had been plaguing my manuscript and preventing me from moving forward.

Communication

But what if your mentor suggests something you don’t agree with? At some point in the revision process, Mónica advised me that my characters “laughed” too much and suggested that I could substitute the word, “chuckle.” But, for me, the word, “chuckle” has very specific connotations: an old man can chuckle, but my MC would never chuckle! The word didn’t fit my manuscript’s voice, in my opinion. Timidly, I explained this to Mónica. And of course she replied with something like, “Okay, no problem, just find other ways to fix your overuse of ‘laugh.’”

I believe communication is the key to a successful mentor-mentee relationship. Don’t understand a suggestion? Communicate. Wondering when you’ll get notes? Communicate. Disagree with something? Communicate. Confused by what other mentees are saying? Communicate. Completely and utterly freaking out about everything? Communicate.

Respect

At the same time, mentors have varying communication styles and schedules, and it’s also important to be respectful of your mentor’s time. Communicating every time you’re unsure of where to put a comma would probably be a bit much.

Your mentor selected your manuscript from among the many they received, and they are volunteering their time because they believe in you and your manuscript and want to help you move forward with your writing dreams. By respecting your mentor’s time and effort, and communicating honestly, you can make the most of your Pitch Wars experience.

Questions or tips about finding and working with a mentor? Please add a comment!

The Synopsis Is Your Friend (Yes, really!)

The Synopsis Is Your Friend

I am a weirdo for many reasons, not the least of which is that I enjoy writing a synopsis. (I also enjoy query-writing, but that’s another story for another blog post for another day.)

Drafting a synopsis is my number one revision tool. I’m (mostly) a pantser when it comes to churning out first drafts. Once I’m done, I find it difficult to gage if what I’ve written flows well. That’s where the synopsis comes in. By taking a stab at drafting a synopsis (in its initial stages—it doesn’t have to be perfect), the big picture plot becomes crystal clear. Things that are highlighted? Subplots that lead nowhere, storylines that need resolution or scrapping, character arcs that don’t…well, arc. After all, it’s the character’s growth (by way of the effects of the plot) that the synopsis should show us.

So, how do you do it?

I print out my manuscript (yes, the entire thing) and I boil each chapter down to its meat and bones summary—I’m talking only two or three sentences each. That gives me a skeletal outline of my synopsis. Each chapter’s summary will then read something like this: Main character wants to _______ BUT he’s thwarted by ________. It’s a “Character wants ABC….BUT…XYZ holds him back” formula. And you just continue onward through the rest of the novel, taking care to cut out extraneous details that either don't shift plot points or that either don't otherwise affect the main character's arc. Oftentimes it’s necessary to include the character’s emotional state as it changes throughout the novel, in order to show his or her growth. Don’t worry about the “show don’t tell” rule here. It doesn’t apply to the synopsis. In a synopsis, you can just flat-out tell us the character’s emotion. For example, “Excited about her new job, an impulsive Jane spends her last dollar on an Armani briefcase for her new boss.” And then remember to bring in the critical conflict in each chapter with a BUT (or "however"...or "despite such and such"--you get the idea). “Excited about her new job, an impulsive Jane spends her last dollar on an Armani briefcase for her boss, but when she learns that the position was also promised to someone else, she grows distraught.”

Additional points to remember:

• ·      As you might have heard, you don’t want any teasers in the synopsis. This isn’t a query or pitch. The synopsis should give away all the plot details and should clearly spell out the ending of the book.
• ·      Characters full names should appear in all capitals the very first time you mention that particular character. After that, no capitals necessary.
• ·      To minimize confusion, keep the characters lean. I’ve heard different schools of thought on this, but I think the consensus is no more than 4-5 characters. Of course, as with all writing, this isn’t a hard and fast rule. If it’s necessary, then by all means include more, but make sure they are absolutely critical to the main character’s arc.

A few helpful resources:

• Chuck Sambuchino's "5 Tips on How to Write a Novel Synopsis" is a terrific, brief introduction to the synopsis-drafting process. 
• The master post that I always refer back to when I'm at the synopsis stage is "How to Write a 1-Page Synopsis" by NYT bestselling author Susan Dennard. Susan's website is packed with additional fantastic writing tips and resources as well. (It's my go-to site when I have questions or need a reminder.)
• This will sound wacky, but when I'm stuck I peruse the synopses of my favorite movies on IMDB. Some are better than others, but it's a perfect way to get in the habit of visualizing the plot and character arcs as a whole, and how to pare it all down to 1-2 pages worth of critical information.

Feel any better? I hope! 

Five Tips for Writing Bridges Between Scenes

I was talking to a fellow writer a while back and they were saying how they found it hard to get through the "sludge" part of writing. You know, the bits in between the action or quirky bits or cool bits or fun character bits, etc. And it got me thinking...do these bits have to be sludge? Do they have to just be a bridge to get from place A to place B? I don't think so.

We all hear about making every word, sentence, paragraph count, but sometimes it can feel like creating a road map between interesting cities with long stretches of boring, necessary road in between. However, if you think it's boring to write (or just sludgy) then what is a reader going to think? Pretty much the same, I bet.

So how do you go about making all these little bits in between interesting points fun to write? Here are my top five tips:

1) Don't write them at first. Put in a note that reminds you how the scenes will come together and then get back to those parts later.

2) Once you've done that and your first draft is finished, then sit down and let your story stew in your head (this is what the time away from your novel is all about).

3) As you stew, think about the world, the characters, the premise, etc - what does it mean to you? How could you show this in really quirky ways unique to your world and your story? Think about all the things that excite you in the details and use these on the "roads" between big scenes to keep it fresh and exciting.

4) Think outside the box. When you think of one bridge to write, discard that idea. And the second idea, and the third, fourth and fifth. When you hit upon idea five on how to improve writing these sludgy bits, then there's your answer - you've challenged your mind to be more creative.

5) Ask yourself why it's sludgy. Then think about the subtext of your novel and how you can weave in the equivalent of an "insider's joke". Of course, it doesn't have to be funny things, it can be anything. Look at the Harry Potter books, for example, which have extremely well hidden yet fascinating hidden messages in them. Take symbolism for example: do you like adding little symbolism flourishes that only the most discerning of readers would ever find? Do you get a kick out of well-hidden clues? Well, these sludgy bits are where you can play around and put these things in. And this applies to every aspect of the writing craft - theme, character development, world building, structure. Take each element and find what excites you about it, and then use it to your advantage to spice up those sludgy parts!


For some reason, a lot of writers think there needs to be parts to trudge through in order to get to the "real" story that they want to write. But it doesn't have to be this way. Just give yourself permission to go wild, think laterally, dig deep into what makes you enjoy the journey, and then your readers will enjoy it, too.

So go forth and turn that sludge into pure gold!!!

Working with an Editor

I've been an editor for a number of years now and have had the honour of working with so many fantastic, talented, amazing authors from all over the world that I consider myself extremely privileged. And I like to think that most of those I've worked with have got as much raw, green, high-in-oxidants, low-in-saturated-fats goodness from our working relationship as me.

Sadly, I don't think all writers, or editors, can say the same. Which is just horrible, but this doth maketh moi more determined.

However, I'm going to cut to the chase ...

There are two things I make crystal to any author I work with:

a) I am a professional, here to help, not hinder, or put down, or destroy, or mock. I am your fan, your cheerleader, your support. Use me, my skills, my expertise, BUT ... I will be honest, always.  

b) And you've got to be prepared to improve and work on your manuscript. It's highly unlikely I will come back to you after two weeks and say, 'It's perfect, don't change a thing'. You're paying me to pick your story to pieces and make sure it's absolutely water tight and the best it can possibly be. I will destruct, but I will teach you to construct. So, on receipt of an edited manuscript and report, the first emotion you might feel is OVERWHELM OVERLOAD.

Yeah, it can be a major shock to the system, and when considering how much effort and time might have to go into the rewrite, not to mention how much you've already put into your story, this often sends authors packing. Writing is easy. Writing well and producing an irresistible peach of a book is most definitely not.  

I know many (me included) writers who've cried, stamped on their edited manuscript, thrown it in the trash, cried, vowed never to write again, sobbed, scribbled all over it, cried again, been convinced the editor is out of their mind, cried ... OK, you get the picture.

 

But you know what, it's perfectly fine to react this way. Writing is an emotional beast. However, I implore you to come out the other side of this tantrum fighting, pumped and roaring for success. You and your editor are about to team up to create the next NY Times bestseller!

So, to build on Kara's blog earlier this week on how to find a reputable freelance editor, here are a few tips to consider before, during and after you work with them ...

1. Your manuscript, that story you've bled out from the deepest part of your soul, is your baby. You cherish it. You love it. And so should your editor. They should treat you and it with nothing but respect. One thing I will never do, and no editor anywhere ever should ever do, is tell an author their book is dreadful or any element unsurmountable. Because, quite frankly, this is never ever the case. OK, some books might need more work than others, but every one has the potential to be a work of art, and every author has the potential to be a quality craftsman. Consider that editor lucky you picked them.

2. An editor's time is precious, their skills invaluable, so make sure before you even send your work to them you've done all you can to make your book as good as you can. The internet is golden for seeking out writing articles and websites (much like this one!) that give you so much amazing advice to hone your writing, make sure you abuse it. And find critique partners. You won't believe how many writers out there like you need someone like you.

3. You're paying a lot of money for a professional to help you be better at what you love. Make sure you research them; speak with their previous clients, look at their success rate, check them out on social media and so on. And, a lot of editors offer a sample edit – maybe 1000 words or similar. Use this as a chance to see if you like their style and can handle what's to come.

4. You don't necessarily have to sign a contract with the editor, but you should receive some kind of email or document outlining what you're paying for and most definitely that your work will be treated confidentially. If they don't offer one, ask for one or discuss such things via email. Then keep those emails. I doubt there are any editors out there who will steal or share your work, but be sure to cover yourself.

5. You agree a rate, a date, and an outline. You send your manuscript to your editor. You wait one, two, maybe three weeks (depending on the word count of your book and whether they work full or part time) until your editor returns everything to you. During this waiting time, work on something new, or take a holiday, or read. Time and distance are the most powerful weapons during edits.

6. On receipt of your documents, take your time to read and devour everything. An editor will not rewrite your book for you, they will show you the way. Once you've read through, maybe take more time out to let all the information fester – who doesn't love a good fester? Or, if you're not one for sitting about, take out a notepad and jot down ideas. Play around with their suggestions. Look up more info on the internet or read published books in the same category and genre to support their suggestions. Try not to dive straight into revisions. Again: Time and distance are the most powerful weapons during edits.

7. Work through any suggested developmental edits first, concentrating on plot threads, structure and characterisation, your story skeleton, the cogs, the mechanics. These tend to lead to major changes to the manuscript, which in turn affects the acute elements. Once you're confident your story is solid and your characters are literally alive, then work through paragraph by paragraph focusing on sentence structure, show don't tell, punctuation, grammar, and that final injection of detailed characterisation and plot layering, and that all important final sprinkling of glittery fairy unicorn dust.

8. Put your manuscript away. Again: Time and distance are the most powerful weapons during edits.

9. Did your editor offer a follow-up read? Not many do, this is a big commitment, but perhaps recontact the editor you used and ask them how much they charge, if they do at all, to read through your squeaky, polished manuscript. Or find another editor, or other authors to do this for you. You need eyes, as many as you can find, and preferably not ones that belong to family and friends.

10. Keep the big picture in mind and enjoy yourself.

Remember why you wanted to write in the first place, and why you contacted the editor. To be better. To improve. To become published. Whatever, just keep focused on the goal. Some genius somewhere once said, 'It takes years to be an overnight success'.

 

I am always happy to answer questions from prospective clients, or simply those seeking snippets of advice. Please leave a comment or a question, or email me at contact@katejfoster.com if there's anything you want to know!

Tips for Finding a Reputable Freelance Editor

Whether you've just finished your first draft or you're days away from jumping into the query trenches, at some point during this journey, you'll have the need for an editor. Reasons for needing a professional editor is another post for another time, but suffice it to say, everyone needs an editor. And contrary to popular belief, you cannot edit your own work. Nor can your husband, wife, significant other, sister, best friend, high school English teacher, or anyone else who is close to you. While their intentions may be pure, chances are good they won't be 100% honest with you because they won't want to hurt your feelings. And let's face it -- no writer can grow without honest, helpful feedback. So, you need a professional editor :)

The process of finding an editor can be daunting. Where do you even begin? The first step is to build a list of potential editors, much like you'd build a list of agents you'd want to query. But, how do you find an editor? Better yet, how do you find a good one?

• Ask for Referrals -- Word of mouth is always the best marketing tool. Ask friends and/or fellow writers for recommendations. 
• This Blog! -- A lot of the super talented PitchWars Mentors are also freelance editors. Check out their websites (links on the sidebar) and see if any of them fit your needs. 
• Twitter -- A majority of freelance editors will advertise their services on Twitter, using the most common hashtags: #amwriting #amediting #Editor #editing #editingfiction. Some editors will even advertise on the popular contest hashtags: #PitchWars #PitMad #AdPit, etc. 
• Facebook -- If you type "fiction editors" into the search bar, you'll get a whole list of groups and pages where you can connect with editors. 
• Google -- Simply Googling "fiction editors" will give you so many options, you'll get lost in all the results.
• Craigslist -- This is probably a long shot, but sometimes you can find editors there. 

All right, so now that you've got a list of potential editors, it's time to research them. You wouldn't send your book baby off to an agent or publisher without first knowing a bit about them and their qualifications, right? It's exactly the same with a freelance editor -- only now you have the added element of handing over your hard earned cash, too.

1. Online Presence -- Look over their website. (Do they even have a website?) Do they have rates listed? Services offered? Testimonials? Qualifications? Social media links? Check them out on Twitter and Facebook. Do they conduct themselves in a professional manner? Do they share things or post things that make you uncomfortable? If so, they're probably not a good fit for you.

2. Qualifications -- Ask for a resume. See what sort of experience they have. Do they have any formal training? College? Working at a publisher? Working within an agency? Any prior jobs that utilized editorial skills? A record of editing / mentoring writers who have then gone on to find agents, publishers, win awards? If their only experience is beta reading for friends, proceed with caution.

3. References --  Ask for a list of clients they've edited for in the past. Reach out to those authors. Ask them about their experiences, and whether they have or would hire the editor again in the future. If any of the books the editor has edited have been published, go check them out on Amazon. Use the "Look Inside" feature to see the quality of editing; read the reviews to see if readers are commenting on poor editing.

4. Free Sample -- Most reputable editors will offer a "free sample," usually the first 5 or 10 pages. This allows you to see how the editor works and gauge if s/he will be a good fit for you and your work.

5. Specialties -- Editors generally have certain genres they prefer to edit. Ask what those genres are. You don't want to inadvertently hire an erotica editor for your YA or vice versa.

6. Services Offered vs. Needs -- If you're looking for a deep content edit, you don't want to hire an editor who specializes in copy edits. Be sure you know what you need / want and then find an editor who can provide those services.

7. Prices -- Every editor charges different rates. Some charge per word. Others per page. Others by the hour. There's no law or rule that regulates how much an editor should charge, however, the Editorial Freelancers Association is a good place to start looking at what the going rates are. If an editor charges way below or way above these rates, you may want to ask why. And, obviously, you'll want to find an editor who fits within your budget. Just remember: You always get what you pay for!

At the end of the day, the most important thing is that you find an editor you're excited to work with, someone you can see becoming a friend in your journey toward publication. Is there anything else you do when searching for an editor? Please share your thoughts and ideas in the comments!

The 30K Curse

Plotting. It can be scary. There’s so many ways to do it. So many ways it can go right. So many ways it can go wrong. If you're not experienced with it, then it can be intimidating. 

Every book I’ve written has, what I call, the 30k curse. I would get a concept, flesh out my characters, and roll with it. At that point the excitement had swelled and the urge to write was strong as hell. So I put fingers to keys to see where the words took me.

Up until 30k words, I'd be on a roll. I'd be ecstatic thinking I was on the right track. Then, some thought, muse, or secnario would come to mind and I realized that somehow this wasn't right. I'd started in the wrong place, or I'd written to the wrong place. I wrote that the hero and heroine knew each other prior, but really it would be better if the just met because of X, Y, and Z. Yes, we all figure stuff out as we write, but for me, the problem was the stuff I figured out would make me have to start over, because it meant writing the story in an entirely new way because I hadn't thought it all the way through to begin with. Cue the frustration and tears.

The 30K curse became tedious and for me at least, a waste of precious time. When we aren't full time writers, but are striving to be, we may only have a certain amount of time in our day to write. So 30k in, I've wasted a week or more worth of writing time just to start over again. 

Up until four months ago I was a total pantser. Complete advocate for it. Now, I’ve become a plotter with a dash of pants. So a plottser if you will.  What does that mean exactly?

I don’t outline every little detail. That’s too much for me, plus despite having a clear basis, things ultimately do change. For me, having my scenes laid out, with the main point of that is scene keeps me focused. It lets me have the full view of my story to make sure that from beginning to end, the details I want to be there are actually there. It also lets me realize if something isn't working and I need to go back to change it. 

Damn. It's hard sometimes. The urge to just start writing tries to take over, but I know if I don't plot first, that 30k curse will come back and bite me--and not in the fun, sexy way mmkay. 

So how did I go from winging it to plotting it? I sat down and told my story without all the bells and whistles. On each card I wrote what I wanted to happen. The first step, then the next. It’s not pretty, and it’s not every detail, but my basic blue print is there. I can see the next mile marker in the road. I’ve got my target and my aim is ready--but sometimes, as I'm writing, I still need to add, subtract, or move around scenes.

A phyiscal board becomes tedious--at least for me--fast.

Scrivener is my favorite writing program, for many reasons. One of them, is the bulletin board with index cards. This acts as my virtual plot chart. I know a lot of people like hands on, but sticky notes and push pins become tedious for me and I wind up losing half of them anyway. Especially since I may decide a scene should come earlier than another. So instead of tacking and retacking, I can click a tab and go over to my bulletin board, see what’s next or what I may need to add and take away before clicking right back to my document.

No matter anyones plotting style, it’s not an easy transition from just winging it. Sitting down and forcing myself to think through the story made me want to pull my hair out. The urge to write is always there, more so as I flesh out the story. It’s also not for everyone, but the more deadlines that come, the more it might be beneficial to at least have the bare bones of a story.

With any luck, this transition will keep me from having the 30k curse at the forefront of my manuscript.

What about you guys? What's your plotting style? Did your originally pants? Ooh were you a plotter who became a pantser? That's a story I'd love to hear!

Happy Writing!

What do you say?

Every writer comes to their story in a different way. Some people approach it with a basic concept, others with a character, some with a first line or a snippet of dialogue. There are as many ways to get a story idea as there are writers and everyone has their own process. However, there are also some super important aspects of writing that every writer must build upon (character arcs, pacing, plotting, dialogue, etc, etc, ad nauseum). Today, I want to look at one of the biggies: Theme.

Right then. Let's start at the top. What is theme?

Theme is the central topic of your book. In the largest sense, it is what readers will think your book is about. It is what the book is saying about the subject it talks about.

Let's look at a few famous examples:


We'll start with the Hunger Games. One of the central themes in this book is sacrifice and the consequences. This starts right off the bat with Katniss sacrificing for her sister and as a result ending up in the Hunger Games. There is also the theme of corrupt power and the effect it has on society - President Snow keeps the poor masses under an iron rule, poor and defeated, but the wealthy flourish (though they are equally held prisoner by their false and politically dangerous world). These are but two of the major themes explored in this book. Then we have the power of love - how anything can be achieved by love: Katniss winning the Hunger Games to get back to her family, despite the huge odds stacked against her and how she saves Peeta at the end of the games.

Next we have the Divergent series. A strong theme here is the concept of choice. Tris makes her own choices and doesn't fall into society's expectations. She joins Dauntless, her brother joins Erudite. The book also looks into overcoming fear, showcased by the simulations the Dauntless must endure in order to succeed. Yet another theme is that of segregation, showcased by the different factions created throughout society.


As you can see, themes can be multi-layered and very complex, and often one connects solidly to another. However, in order to write a great book, you need to have at least one core theme. What do you want your book to say? What do you want readers to question?

* Love versus power
* Honor over ambition
* Freedom versus fear
* Prejudice or acceptance

There are hundreds of themes and topics out there that are worth exploring and each story will lend itself to its own.

How does this help you? It will deepen the core of your story and give it something important to say.

If you know the theme of your book at the start, it's going to color your writing and seep through on every page.

Good luck!!!