Tag Archives: Writer’s Digest

Writing tip Wednesday: “Stop the stall”

9 Ways to Stop Your Novel from Stalling

by Tracey Barnes Priestley

Source: http://www.writersdigest.com/online-editor/9-ways-to-stop-your-novel-from-stalling?utm_source=wir&utm_campaign=wds-bak-wir-160107&utm_content=811333_WDE160107&utm_medium=email

I would be willing to wager that most writers have made New Year’s resolutions regarding their writing practices. I know I have.

Tracey Barnes Priestley

Tracey Barnes Priestley

Curious about this, I canvassed a few of my writer friends. Sure enough, many of them had frequently participated in this annual tradition that dates all the way back to the Babylonians. Each writer had faced January with a deep commitment and heartfelt enthusiasm for those resolutions. One promised herself she’d “finish the first draft” of her novel. Another told me she had written on her dry-erase board, in big, bold letters, “I will clean up the dialogue mess that’s drowning this book.” The least experienced of them, an as yet unpublished young man full of enthusiasm for his craft, swore he would “silence my inner critic and keep writing, no matter what.”

I followed up by asking them how successful they had been in keeping those resolutions. Unfortunately, all had experienced the same thing: disappointment. No matter how hard they tried, they had ultimately been unable to make good on what they had resolved to do.

I knew exactly what they were talking about. I gave up creating New Year’s resolutions about my writing years ago when I found myself at the end of yet another cold January, with nothing more to show for all of my efforts than an exercise in futility. I was left feeling a range of emotions, from guilty to downright silly.

It’s actually quite comical just how few of us keep our New Year’s resolutions. It’s estimated only 45 percent of the population even tries to resolve making changes in the New Year. Of these brave souls, a mere 8 percent are successful.

Yet I’ve wondered if writers might be even more inclined than the general public to approach the New Year with a list of things we want to change, accomplish or do differently. We seem ripe for this kind of experience. As creative thinkers, we face a unique set of circumstances when it comes to producing our work. Alone in whatever space we can manage for our writing, we pound away at the keyboard, with our thoughts, our characters, our struggles and the never-ending reality that we aspire to a tough, highly competitive profession. Why wouldn’t we try to capitalize on the fresh start, the clean slate that January offers us? Magical thinking is right up our alley!

Why Our Writing Can Stall

In my work as a life coach, I’ve come to believe that our writing can be derailed because of two fundamental processes. The first, naturally, is the very nature of our craft, the writing process itself—think plotting, character development, etc. Unfortunately, this intrinsic set of challenges dwells right alongside our individual writing processes—complete with procrastination, destructive thought patterns, negative experiences, ambiguous motivation, unrealistic expectations, etc. And we wonder why we can’t keep our writing resolutions.

By now you’re probably ready to chuck your computer out the window. Don’t! Think of these two processes as valuable tools. Once you understand how they may be driving your inability to meet your writing resolutions, you will be poised to utilize effective strategies that support you and your writing every step of the way.

What’s Holding You Back?

Let’s begin by identifying the warning signs that your writing may be about to stall out. Consider current or previous writing resolutions you failed to keep. Ask yourself if you have experienced any of the following: lack of initiative; inability to prioritize writing tasks; frequent distraction; failure to establish a consistent writing pace/routine; inner dialogue that is one negative message after another; finding yourself simply “too busy” to get anything done. This is hardly an exhaustive list. Reasons writers stall can be varied and unique. Your task is to be as exact—and as honest with yourself—as you can in identifying what gets in the way of your ability to make progress on your projects. Make a list.

Next, evaluate this list from the perspective of the work-in-progress itself. As an example, let’s use my writer friend’s resolution to finish her first draft.

Every time she sat down at her computer, this writer felt lost about where the story should go next, and unclear about the relationship between her two main characters. She found herself thinking, This is useless, and, It’s not a strong enough idea for an entire book—maybe I should ditch the entire thing.

First, she tried to address the problems in the work itself. She sought craft and technique help with her plot and eventually resolved some backstory problems that had delayed the action and confused things between her characters. But the problems with her own lack of clarity persisted. Now she was fairly certain that the problem was within her writing process.

That meant facing off with her inner critic, which is always the most efficient place to begin. She looked her frustration in the eye and began to unravel the negative messages ricocheting around inside her head. Why exactly was this project “useless”? After some contemplation, she surprised herself with her answer: “Because I don’t have the patience for anything but short stories—certainly not a full-length novel.” This statement got her wheels turning in a new direction. She rethought her word choice (she is, after all, a writer) and decided it wasn’t really a lack of patience—this gifted writer was actually lacking confidence. She found herself wondering:
I’ve had some success with short stories, so why am I risking my time and energy on something I don’t know much about? She realized she’d been rationalizing away the entire project, even though writing a novel really was something she wanted to try.

Once you are able to identify what is really preventing you from pushing ahead, you’ll be freed up to construct writing goals that will actually yield productive results. For my friend, this meant not just correcting her self-defeating thoughts, but lifting the expectations she was unconsciously placing on her unwritten manuscript. It didn’t have to be a “success,” as her published short stories had been, to be worth her while—or at least, she needed to redefine what success meant to her. Once you decide that writing something you want to write is never a waste of time, regardless of whether or not it’s published in the end, you might just find that those negative voices quiet down on their own.

Let’s consider another example, the young writer who swore he would “silence my inner critic and keep writing, no matter what.”

When he viewed his writing from the perspective of each of these two processes, he discovered some distinct problems. He admitted to himself that he felt foolish in the eyes of others for turning his back on the profession he had trained for—engineering—and that he felt like a fraud because he had not been formally trained to be a writer. Those were demons he had to face if he ever wanted to get past Chapter 1.

Next, from the perspective of the writing process, he realized that while writing a novel was on his bucket list, he had not really worked out enough of a story idea to be able to take action on the page.

If you’re intimidated by the prospect of writing an entire novel (and who isn’t?), why not set a goal of writing, say, three chapters? By the time you meet that smaller, more achievable goal, you might just find you have an idea for Chapter 4. When it comes to writing, the laws of momentum apply—it’s infinitely easier to move toward something when you’re already in motion than it is to start from a dead stop.

How to Avoid Stalling: 9 Ways

Now that you’ve seen how fundamentals that have very little to do with actual words on a page can derail a writer’s progress, let’s take a look at what else we can to do make sure we keep moving.

1. Ditch the word resolution entirely.

It’s a setup, one that has been riding on the backs of people for thousands of years. Instead, set a goal, objective or even intention.

2. Understand what truly motivates you.

For some writers, identifying a positive outcome and working toward it is the most effective form of motivation. Conversely, other writers are spurred on by a degree of unrest, even fear.

Write down exactly what is motivating you to meet your writing goal. Is it a good fit? Does it ring true? If not, identify a more appropriate motivation. When finished, post it where you can see it when you are writing.

3. Break it down.

It can be quite worthwhile, exciting even, to set large goal. “Yes, I will finish my novel this year!” But make sure it’s specific—which usually means breaking it down into smaller goals you can cross off along the way. Remember my friend’s resolution, “I will clean up the dialogue mess that’s drowning this book”? It would have been more attainable to separate this vague notion into three separate goals: (1) When I hear myself saying negative things like “I’m drowning this book,” I will stop, write the negative message down, put it into my complaint box and get back to work (a good practice for anyone working toward any goal, by the way); (2) Over the next two weeks I will identify the dialogue passages that are giving me grief; and (3) By the end of January, I will have rewritten at least one scene that includes dialogue. Note that the goals are not just well defined, but action oriented, and that the second and third goals include a targeted time frame. Most of us will be more successful if we give ourselves reasonable deadlines.

4. Be realistic.

Changing behaviors, attitudes and habits is a process. Rarely does change occur because of one event or a date on the calendar. (Curious to know more about why this is? Do some research on the neuroscience of change—you will be astounded by what is required for our poor brains to shift into a new mode.)

5. If you feel frustrated, pick a single task—the smaller the better.

It should be related to your work-in-progress, but it doesn’t have to be what chronologically comes next in your manuscript’s progression. It does, however, need to be so simple you can’t possibly fail. For example, it may seem like rewriting one page should be easy enough to accomplish, but if you’re not succeeding, the task is too big. Instead, aim to rewrite one paragraph or even just one sentence. When you are finished, move onto the next small task. This approach fights frustrations with success, and builds forward progress into your writing practice.

6. Pair up.

Ask another writer to join you in working toward your individual goals in the months ahead. You’ll both benefit from being accountable to one another, and the mutual support will motivate you to follow through.

7. When all else fails, take a break.

It can be as simple as getting up from your computer and walking around the house, or as significant as putting your project on hold for a month. Stepping away from the source of our frustration can give us a fresh perspective and renewed momentum. But be sure to designate an end point to this refueling period to ensure that it is in fact a break—and not an excuse not to get up from that chair and never sit back down.

8. Realize that setbacks are part of the process.

Every writer’s road is full of tight curves, jarring potholes and unexpected bumps. Accept this inevitability, and you won’t be as surprised when you slam into something that brings you to a screeching halt. By eliminating the element of surprise, you minimize disappointment, which will help you to recover and get moving again.

9. Above all, be patient!

Meeting your writing goals takes time and effort. When you throw out that laundry list of resolutions and focus your attention on just one or two well-crafted objectives, you’re already one step ahead of where you were last year. Remember that 12 months is plenty of time to accomplish your writing goals if you approach them with understanding, clarity and objectivity. Here’s wishing you every success in 2015. Happy New Year!

About the author: Tracey Barnes Priestley is a columnist, blogger and novelist. She is the author of the novel Duck Pond Epiphany as well as a life coach who teaches writers organization, communication and stress management skills useful for today’s publishing world. Contact her at tracey@thesecondhalfonline.com

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Writing tip Wednesday: “Deadline extended — Short, short story contest”

DEADLINE EXTENDED

SSS-Header

We’ll keep this short.

Enter the Writer’s Digest Short Short Story Competition for a chance at $3,000 and a trip to the 2016 Writer’s Digest Conference, PLUS national exposure for your story! Click here to see the full prize list.

Here’s the bottom line.

Keep your story under 1,500 words to qualify, and be sure to get your work to us by January 15, 2016.

One First Place Winner will receive:

  • $3,000 in cash
  • Their short story title published in Writer’s Digest magazine’s July/August 2016 issue
  • A paid trip to the ever-popular Writer’s Digest Conference!
  • A copy of the 16th Annual Writer’s Digest Short Short Story Competition Collection
  • A copy of the 2016 Novel & Short Story Writer’s Market
  • A copy of the 2016 Guide to Literary Agents.

Other prizes and how to enter: http://www.writersdigest.com/writers-digest-competitions/short-short-story-competition?utm_source=competition&utm_campaign=wd-tjo-comp-161125&utm_content=801449_WC151125&utm_medium=email

NEW Deadline: January 15, 2016.

FormerlyDecember 14, 2015

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Writing tip Wednesday: “Short, short story contest”

SSS-Header

We’ll keep this short.

Enter the Writer’s Digest Short Short Story Competition for a chance at $3,000 and a trip to the 2016 Writer’s Digest Conference, PLUS national exposure for your story! Click here to see the full prize list.

Here’s the bottom line.

Keep your story under 1,500 words to qualify, and be sure to get your work to us by December 14.

One First Place Winner will receive:

  • $3,000 in cash
  • Their short story title published in Writer’s Digest magazine’s July/August 2016 issue
  • A paid trip to the ever-popular Writer’s Digest Conference!
  • A copy of the 16th Annual Writer’s Digest Short Short Story Competition Collection
  • A copy of the 2016 Novel & Short Story Writer’s Market
  • A copy of the 2016 Guide to Literary Agents.

Other prizes and how to enter: http://www.writersdigest.com/writers-digest-competitions/short-short-story-competition?utm_source=competition&utm_campaign=wd-tjo-comp-161125&utm_content=801449_WC151125&utm_medium=email

Deadline: December 14, 2015

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Writing tip Wednesday: “Writer’s Digest Poetry Contest”

Source: http://www.writersdigest.com/writers-digest-competitions/poetry-awards?et_mid=793214&rid=239626420

This way to the contest.

This way to the contest.

Deadline: October 30, 2015

Calling all poets! We’re on the look out for poems of all styles–rhyming, free verse, haiku, and more–for the 9th Annual Writer’s Digest Poetry Awards! This is the only Writer’s Digest competition exclusively for poets. Enter any poem 32 lines or less for your chance to win $1,000 in cash.

Prizes

One First Place Winner will receive:

  • $1,000 in cash
  • Their poem published in Writer’s Digest magazine’s July/August 2016 issue
  • A copy of the 2016 Poet’s Market
  • Promotion on writersdigest.com.

The Second Place Winner will receive:

  • $250 in cash
  • Their poem’s title published in Writer’s Digest magazine’s July/August 2016 issue
  • A copy of the 2016 Poet’s Market
  • Promotion on writersdigest.com.

The Third Place Winner will receive:

  • $100 in cash
  • Their poem’s title published in Writer’s Digest magazine’s July/August 2016 issue
  • A copy of the 2016 Poet’s Market
  • Promotion on writersdigest.com.

Fourth through Tenth Place Winners will receive:

  • $100 off a purchase from the Writer’s Digest Shop
  • Their poem’s title published in Writer’s Digest magazine’s July/August 2016 issue
  • A copy of the 2016 Poet’s Market
  • Promotion on writersdigest.com.

How to Enter

Register online: https://app.wizehive.com/apps/WDPoetry2015

  • Enter online or submit your entry via regular mail. Offline entries must be accompanied by an Entry Form, and the required entry fee (credit card information, check or money order made payable to F+W Media, Inc.). If you are entering more than one poem, you may mail all entries in the same envelope and write one check for the total entry fee. You may enter online even if you are paying with a check. All checks will be cashed within 60 days of the competition final deadline. Entry fees are non-refundable.
  • Your entry must be original, in English, unpublished and unproduced, not accepted by any other publisher or producer at the time of submission. Writer’s Digest retains one-time nonexclusive publication rights to the winning entries to be published in a Writer’s Digest publication. Any piece posted anywhere online is considered published.
  • If you are submitting your entry via regular mail (NOT using the online entry form), the entry must be typed on one side of 8-1/2 x 11 or A4 white paper. Poems may be single or double-spaced. Your name, address, email and phone number must appear in the upper left-hand corner of the first page —otherwise your entry is disqualified. Entries submitted online do not need name, address, email and phone number in the upper left-hand corner of the first page since that information is collected on the form.
  • BE SURE OF YOUR LINE COUNT! Entries exceeding the line limits will be disqualified. Type the exact line count (counting every single line, except the title and contact information) at the top of the manuscript.

Additional information: http://www.writersdigest.com/writers-digest-competitions/poetry-awards?et_mid=793214&rid=239626420

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Writing tip Wednesday: “8 Rules of Writing Historical Fiction Research”

After researching and writing my novel Orphan #8—which was published by William Morrow in 2015 and is the August Target Club Pick and an Indie Next Great Read—I put together this list of eight rules for historical fiction research. For each I’ll give you an example of how I applied that rule of research to writing my novel.

By Kim van Alkemade

Source: http://www.writersdigest.com/online-editor/8-rules-of-writing-historical-fiction-research?et_mid=785611&rid=239626420

1. Take bad notes.
In 2007, I took some brief notes about a woman doctor who X-rayed eight children at a Jewish orphanage. I didn’t even write down her name. Yet these bad notes inspired me to write my first historical novel, Orphan #8. Only after the novel was finished, sold, and rewritten did I go back to this archive to consult the source of my notes. There, I learned the real name of this doctor, Elsie Fox, and with a little more research I learned she had been born in Austria, educated at Cornell, conducted X-ray research at the Home for Hebrew Infants, and founded a school for radiology in the Bronx. The character I created from my bad notes is named Mildred Solomon. She was born in the United States, went to medical school in New York, conducted X-ray research at the fictional Hebrew Infant Home, and went on to have a career in radiology at a hospital. The parallels are spooky, but I’m glad my bad notes allowed my imagination free reign to create a character who is entirely my own.

2. Use archives.
You don’t have to be an academic or a librarian to use archival materials. Archives are maintained for the purpose of preserving and sharing documents. Find an archive that relates to your period and subject. I did most of my archival research at the Center for Jewish History in New York where the American Jewish Historical Society has the archives of the Hebrew Orphan Asylum. I found amazing information at the New York Academy of Medicine Library, and they later invited me to write a blog post about my research for the novel. But I’ve also used both paper and digital collections at the New York Pubic Library and materials from the Lesbian Herstory Archives in Brooklyn. When you use archival materials, look for quirky details and be open to inspiration.

3. Study old pictures.
Evocative historical writing is made up of more than facts and figures. By examining old pictures—either paintings or photographs—you can glean impressions that inspire your imagination and details that populate your descriptions. Many digital archives are now coming online, making this aspect of historical research easier than every before. I relied on the New York Public Library’s Old New York collection, where you can see a photograph of the Hebrew Orphan Asylum. I also used the Beck Archives Photograph Collection at the University of Denver, where I saw a photograph that informed my description of heliotherapy (a real treatment for tuberculosis) and inspired my fictional Hospital for Consumptive Hebrews. The photograph below of a dormitory at the Hebrew Orphan Asylum was crucial for the setting of several important scenes in the novel.

4. Go on location.

Sometimes you have to go away from your desk and out of your house to get first-hand experience of your setting. I made two trips to Colorado while researching Orphan #8 and the descriptions based on those visits are more sensory than anything I could have gotten from a book or photograph. Your artistic impression of a place is crucial to creating an historical world that rings true for you as a writer. Landscapes may be the same as they were centuries ago; some city neighborhoods haven’t changed in a hundred years; ancient ruins can still be inspiring. If possible, talk to people while you are on location; their memories and impressions can yield invaluable details. I learned so much from Hy Bogan, who I interviewed at the location of the Hebrew Orphan Asylum.

5. Read old books.
6. Visit museums.
7. Use the Internet.
8. Stop researching, start writing.

Details: http://www.writersdigest.com/online-editor/8-rules-of-writing-historical-fiction-research?et_mid=785611&rid=239626420

Kim van Alkemade

Kim van Alkemade

Kim van Alkemade: Van Alkemade is the author of the historical fiction novel Orphan #8 (William Morrow). Her creative nonfiction essays have appeared in literary journals including Alaska Quarterly Review, CutBank, and So To Speak. Born in New York, NY, she earned a BA in English and History from the University of Wisconsin-Parkside and an MA and PhD in English from the University of Wisconsin-Milwaukee. She is a Professor in the English Department at Shippensburg University of Pennsylvania where she teaches writing. She lives in Carlisle, Pennsylvania. Connect with Van Alkemade on Facebook/KimvanAlkemade, Twitter @KimvanAlkemade, Instagram kimvanalkemade and KimvanAlkemade.com.

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Writing tip Wednesday: “Dear Struggling Writer”

4 Pieces of Advice for Struggling Writers

by Jenny Martin

http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/4-pieces-of-advice-for-struggling-writers?et_mid=781061&rid=239626420

Jenny Martin

Jenny Martin

My debut novel, Tracked, recently hit shelves, and I’m often asked for advice about the publication process. How long did it take you to sell your book? Should I shelve this project? Should I keep going? Did you ever feel like giving up?

And so often, buried in these questions, there’s a palpable tremor of defeat. Of desperation and indecision and uncertainty. I hear it the writer’s voice. I read it in their words.

And it makes my heart clench. Every time.

Because I’ve been there. I’m still there, half the year. Yes, I’ve got a permanent sub-lease on that same space, a precarious little acreage between Epic Fail Valley and the Cliffs of Insanity. Maybe you’ve heard of the place, and season there, too?

If so, don’t fret. There’s hope, struggling writer. And while I may not always have the right answers to your questions, I can give some encouragement. So here it is—my advice to you:

1. If you’re struggling to succeed, you’re in good company.
Almost every single author I know has their own unique (yet somehow familiar) story of crushing heartbreak, setback, and rejection. I’m no exception. My agent was not my first agent. Tracked was not my first book. Tracked wasn’t even my first (or even second!) book on submission. What’s more, it almost didn’t sell. Then it almost didn’t make it through revisions. And to be painfully honest, every now and then, it’s still almost impossible to fight off the hydra-head monsters of fear and self-doubt. And if you’re battling those monsters, too, it just means you’re on the right path. Those tricky beasts only show up when you’re self-aware enough to grow as an artist. They smell your hunger for improvement, and they know exactly when you’re primed to level up. Yep. Naturally, that’s when they attack. So be aware, and embrace the fight. Push past it. You can do it. I’m rooting for you.

2. If you’re struggling to succeed, write the next book.
Or paint the next picture. Or sing the next song. The only way you’re ever going to move forward is to stop holding onto everything that’s rooted in yesterday’s ground. If a book isn’t working … if it’s getting rejected all over town, it might just be an eighty-thousand word clog in your creative drainpipe. It might be stoppering up the masterpiece you’re supposed to be starting right now. That book or whatever-whatchamacallit you’ve got now? It might be the project you need to set aside and revisit later, with new skills and new eyes. But of course, you’ll never know, unless you choose to start something new. Trust me. Begin again and rescue your tomorrow.

3. If you’re struggling to succeed, you need to get back up.
It’s normal to get knocked to the mat. It’s okay to get knocked to the mat. Pretty much everyone who’s ever tried anything has been knocked to the mat. More specifically, pretty much everyone who’s ever tried something great has been knocked to the mat at least a hundred times. And the people who achieve greatness? They’re the ones who kept getting back up, again and again. So if you’re there—right now, this second—give yourself a moment. Catch a breath and recover. Reassess and dust off your dreams. But then come up swinging. Scrap your way back onto your feet. Listen, you. You’re halfway to something great, just by answering the bell.

4. If you’re struggling to succeed, you’ll be prepared, when you do succeed.
All the rejections, all the tears, all the heartbreaking close calls … they will season you for the next challenge, the next goal, the next victory. Everything you’ve already faced, and will face … it all makes you tougher and fiercer and stronger. And oh, how you will cherish the victories, when they come. Each and every setback will sweeten them tenfold, while increasing your capacity for gratitude, compassion, and humility. And those victories will come. They are waiting for you, ahead.

So just keep going. I promise. You’ll see.

About Jenny Martin: author of debut novel TRACKED (May 2015, Dial/Penguin Random-House). Her book was praised by Publishers Weekly, Kirkus Reviews, and Bustle. Jenny is an author, librarian, and an experienced speaker, panelist and presenter who’s appeared at many conferences, events and festivals. She lives in the Dallas-Fort Worth area, with her husband and son, where she hoards books and writes fiction. And yes, she’s still on a quest for the perfect pancake.

Source: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/4-pieces-of-advice-for-struggling-writers?et_mid=781061&rid=239626420

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Writing tip Wednesday: “First Novel Tricks”

9 Practical Tricks for Writing Your First Novel

by JAN ELLISON

Source: http://www.writersdigest.com/online-editor/9-practical-tricks-for-writing-your-first-novel?et_mid=773300&rid=239626420

1. Get to the end of the story
One of the biggest mistakes I made writing my first novel was spending too much time polishing the language before I understood the story’s arc. I didn’t know if the words and sentences I was massaging supported the story, because I had no idea how it ended. I finally made a huge poster that read: “GET TO THE END OF THE STORY” and taped it to the wall behind my computer. This simple trick helped me push forward to the end.

2. Put the manuscript away for awhile and write something else
After five and a half years of steady work on my novel, I inadvertently set it aside for eighteen months to write 600 pages of material for a second novel. I thought my first novel was dead. Then I opened the file one day and started reading it from the beginning. What I discovered was that the time away allowed me to experience the manuscript as a reader instead of a writer. Not only did I find I liked what I’d written, I saw where the holes were, and how it might end. Ten months after its rediscovery, it was sold overnight to Random House.

3. Set a timer for forty-five minutes, then take a fifteen minute break
This is a trick that emerged out of creativity research, and that I first heard about from another writer, Ellen Sussman. When you sit down to write, set a timer for forty-five minutes. Force yourself to begin putting words on the page immediately, and don’t stop until the timer goes off, even if you have to write about the weather. Then reset the timer for a fifteen minute break. During the break, don’t check email; do something mindless like dishes or jumping jacks or cartwheels. This trick frees your subconscious to tackle bigger issues in the manuscript. You’ll find that when you sit down again for another forty-five minute session, you’ll have made breakthroughs without even trying.

4. Only set writing goals that are completely within your control
Some writers set daily word count or page goals; I find it simpler to commit to the amount of time I spend writing every day. If I get interrupted by my kids, I can always make the hours up at night when they’re asleep. I set a goal of three writing hours (45 minutes on, 15 minutes off) per day, five days a week. I keep track of the hours on a log next to my desk, and when I reach fifteen, I’ve met my goal.

Other tips include:

5. Keep a poem in progress on your desktop

6. Organize a self-styled writing retreat

7. Read other novels, not short stories

8. Write 1,200 pages to get 300

9. Find three trusted readers, not just one

Details at: http://www.writersdigest.com/online-editor/9-practical-tricks-for-writing-your-first-novel?et_mid=773300&rid=239626420

Jan Ellison

Jan Ellison

About Jan Ellison: Ellison is the bestselling author of the debut novel, A Small Indiscretion (Random House 2015) which was both an Oprah Editor’s Pick and a San Francisco Chronicle Book Club Pick. Jan’s essays and stories have appeared in The New York Times, The Wall Street Journal, Narrative Magazine and elsewhere, and she received an O. Henry Prize for her first short story to appear in print. She was raised in Los Angeles and lives in the San Francisco Bay Area with her husband of twenty years and their four children. Visit janellison.com, follow her here on Facebook and on Twitter @janellison.

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Writing tip Wednesday: “Two new agents to consider”

Amanda O’Connor of Trident Media

Source: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/new-literary-agent-alert-amanda-oconnor-of-trident-media?et_mid=768246&rid=239626420

Amanda O'Connor

Amanda O’Connor

Amanda O’Connor joined Trident Media Group from Penguin Random House where she worked as an editor. Previously, she had been a bookseller, ghostwriter, assistant, and volunteer, happily taking on many roles within the publishing industry. Her breadth of experience has proven invaluable to her work as an agent, supporting authors through every step from proposal to publication and beyond. She holds a B.F.A. Writing, Literature, & Publishing with a concentration in poetry from Emerson College. Visit her agent profile here: http://www.tridentmediagroup.com/agents/amanda-oconnor

Amanda is continuously building her client list in general-interest and upmarket nonfiction, spirituality and wellness, and literary fiction. She looks for the “wisdom factor” across genres and disciplines, especially authors who have an expertise they are eager to share with the world. Her favored subjects include (but are not limited to) history, religion, popular science, sociology, culinary arts, and creativity. In spirituality, Amanda’s approach is truly ecumenical, seeking leaders of all faith communities from Catholic nuns to Sikh entrepreneurs, from practical self-help to inspirational memoir. Literary fiction is a pursuit of passion. She gravitates towards works that address timeless concerns of the soul through the lens of modern life. Above all else, Amanda loves a well-crafted sentence.

Please submit through Trident’s online form here: http://www.tridentmediagroup.com/contact-us, directing its attention to Amanda O’Connor. Unsolicited queries should include a paragraph about yourself, a concise and thoughtful summary of the proposal, and your contact information. Please do not send a manuscript or proposal until you have been requested to do so.

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Mallory C. Brown of TriadaUS

Source: http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/new-literary-agent-alert-mallory-c-brown-of-triadaus?et_mid=768246&rid=239626420

Mallory C. Brown

Mallory C. Brown

Literary agent Mallory C. Brown is with TriadaUS. Some of Mallory’s favorite books at the moment are: A Series of Unfortunate Events, Gone Girl, Outlander, and To All the Boys I’ve Loved Before.

She is seeking: young adult, new adult, women’s fiction, and nonfiction. She is especially drawn to pieces with strong character-driven plots and witty humor. She loves contemporary fiction, low fantasy, and romance. Mallory also appreciates a well-placed comma and hopes you do, too.

How to submit: E-query mallory [at] triadaus.com. When querying, please include the first ten ms pages in the body of the e-mail after your query.

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Writing tip Wednesday: “Writer’s Voice”

Don’t Muzzle (or Muffle) Your Writing Voice

By TOM BENTLEY

Source: http://www.writersdigest.com/online-editor/dont-muzzle-or-muffle-your-writing-voice?et_mid=758567&rid=239626420

I think about the issue of voice in writing quite often. You know, your writing voice, that whiff of brimstone or reverberant cello note or cracked teeth and swollen tongue that stamps your writing as having been issued from you alone. Many writers, particularly younger ones, struggle to find their voice: the word choice, the cadence, the tone, the very punctuation—the stuff that slyly suggests or that screams that you wrote it.

You’d never mistake Donald Barthelme for Ernest Hemingway; the word blossoms gathered in Virginia Woolf’s garden would have flowers not found in the window-box plantings of Joan Didion. So your writing and your writing voice shouldn’t be confused with Schlomo Bierbaum’s—it should be yours alone.

One of the things that made me think of a person’s voice was a literal voice: a few years ago I saw Ricki Lee Jones in concert, and was so struck by her uniqueness as a performer (and possibly as a person). She was cuckoo and mesmerizing in the best of ways on stage: banging on the roof of the piano, exhorting the other players, talking to them in asides during some songs. She played a lunatic version of Don’t Fear the Reaper(!), beating out a slapclap on the top of her piano. The performance was so Rikki Lee Jones: singular, eccentric, passionate, moody. You wanted to be around her just to see what she might do or say (or sing) next. Her voice was hers and hers alone.

Your Writing Voice Is There for the Singing

When you’re developing your writing voice, you might be so painstakingly wrapped up in expressing yourself JUST SO that you drain the blood out of your writing, or pull the plug on the electricity of your ideas. You might have read an essay by Pico Iyer or a story by Alice Munro or a novel by Cormac McCarthy and you might be trying so hard to source and employ the rhythms, humors and tics of those gifted writers that you spill onto the page a fridge full of half-opened condiments that cancel each other’s flavors.

Be yourself behind the pen, be the channel between what cooks in your brain and what courses through the keyboard. Even if that self is one day the grinning jester and another the sentimental fool, be fully that person, unmasked, on the page. Maybe you grew up in a slum in Mumbai or have a pied-à-terre in every European capital, maybe your adolescence was a thing of constant pain, maybe you never made a wrong move, maybe you never moved at all—it should be in your writing, whether in its proclamations or its subtext. Your voice is all the Crayons in your box.

For instance, if you’re inclined to the confessional (like all us old Catholics), turn to your sins: I was a very enterprising shoplifter in high school, running a cottage resale business on the side. While I don’t recommend they teach my techniques in business school, I later forged my history of happy hands into an award-winning short story, and then turned the account of having won that short story contest into a published article in a Writer’s Market volume. Ahh, the just desserts of an empire of crime.

A Voice, and Its Chorus

Of course it’s no monotone: Sometimes I might write about Sisyphus and sometimes I might write about drool (and sometimes I might speculate whether Sisyphus drooled while pushing the rock up that endless hill). By that I mean your short stories might have a female narrators, male narrators, be set in a tiny town one time and in a howling metropolis the next. But you still must find the voice—your voice—for that story.

I like to write essays that often take a humorous slant, but at the same time, that isn’t the limit or restriction I put on my own expression. I published a piece on not actually knowing my father despite my years with him, and another that discusses never finding out what happened to my high school girlfriend after she vanished in Colombia. Both had a tone of pathos. That pensive tone is also one of my voices, and its sobriety doesn’t cancel the chiming of my comic voice. So your voice might be part of a choir.

Rest of the article: http://www.writersdigest.com/online-editor/dont-muzzle-or-muffle-your-writing-voice?et_mid=758567&rid=239626420

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Writing tip Wednesday: “10 Poignant Practices for Every Writer”

Here are 10 smart, yet simple ways for every writer—from novelists to journalists to poets—to enrich his or her mind and become better at cultivating ideas and putting them to the page.

Source: http://www.writersdigest.com/online-editor/10-poignant-practices-for-every-writer?et_mid=752210&rid=239626420

by MELISSA CLARK

1. Travel the world
Old, young, rich, poor, there are many ways to see the world, soak up other cultures, see examples of creativity in art, food, music, architecture. Lately, I’ve been applying to and attending artist residencies to work on my writing in other countries including Spain, Portugal and Mexico. Even if you’re only able to take a day trip, take it! Soak up any experience you can get that lives outside your day-to-day life.

2. Journal
Not just the “My boyfriend broke up with me” kind. (Though that’s fine, too.) Write down your thoughts, ideas, memories, draw pictures, and record dreams. There are many ways to journal including blogs, Pinterest, and various apps. Who knows what ideas the younger you has in store for the older you. You’ll never know if you don’t record them.

3. Be a student throughout your life
So many colleges and universities offer extension courses. I like taking classes outside of my writing interest and have taken Nude Figure Drawing, Ceramics, Anger Management and Stand-Up Comedy, among others. Ultimately, anything you learn can be useful to your writing.

4. Also be a teacher
I grew up in a family that supported my creativity, but many people don’t and they need a mentor to help them navigate the waters. I not only teach in colleges, but at unexpected places, too, like spas and retreats. I love meeting and being inspired by different types of students all over the country. Why not volunteer your time teaching writing to kids or the elderly? Everyone has a story. How wonderful if you’re able to help someone express theirs.

5. Realize that no idea is too big/small/silly/crazy
One afternoon at lunch with a friend I ate too much (as usual). When I lifted my shirt to show him my bloated belly, he said, “Are you sure you’re not pregnant?” and I said, “Yeah, right, from a lazy sperm!” This off-the-cuff comment inspired my first novel, “Swimming Upstream, Slowly,” about a woman who becomes pregnant from a lazy sperm. Silly? Absolutely! Published novel? That’s right! What ideas are you preventing from being realized because you think they are too big/small/silly/crazy?

Other tips include:

6. When you hear “no” do it anyway

7. Accept your shadow side

8. Invest in a good therapist

9. Forgive yourself

10. Practice gratitude

About Melissa Clark: Clark is an author, television writer and college instructor. She is the author of the novels, Bear Witness, Swimming Upstream, Slowly, and Imperfect. Her essay, “Rachael Ray Saved My Life” is included in the anthology The Cassoulet Saved Our Marriage.

She is also the creator of the animated television series, “Braceface,” starring the voice of Alicia Silverstone which aired on the ABC Family Channel. She has written scripts for “Rolie Polie Olie,” “Totally Spies,” “Sweet Valley High,” among others. Melissa teaches creative writing and literature courses both privately.

Complete entry at: http://www.writersdigest.com/online-editor/10-poignant-practices-for-every-writer?et_mid=752210&rid=239626420

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