Janice Hardy Teaches Writers How To Be Their Own Book Doctor

Book doctors are wonderful!

I can tell you from personal experience that writers often--in fact, nearly always--lack the ability to see flaws, even major structural flaws, in their own stories. Myself included.

That's where a good book doctor can be worth his or her weight in gold. Janice Hardy writes:

One of the reasons a good book doctor is so successful, is that they look at a story without all the emotional baggage us authors bring to our own work, and can analyze the critical elements of good storytelling. (Be Your Own Book Doctor)

The key is that a knowledgeable stranger has the objectivity we almost always lack when it comes to our own work.

But what if a writer can't afford that kind of a second opinion?

Janice Hardy comes to the rescue, allowing us all to be--or at least try to be--our own book doctor.

Be Your Own Book Doctor

My advice is, if you can, put your newly completed manuscript away in a drawer and forget about it for as long as you can stand, six weeks or so if you can do it, then bring it out and give it a quick read-through. Now, answer the following questions (these questions are all from Janice Hardy's article):

1. Is the tone consistent?
2. Is the theme clear?
3. Is your plot structure solid?
4. Are your stakes high enough?
5. Is there enough conflict?
6. Is there a strong narrative drive?
7. Is there tension?
8. Are there character arcs?
9. Are the characters fully formed?
10. Does the dialog sound natural?
11. Is the setting developed?
12. Is the pacing working?

Janice breaks her analysis down even further, asking several questions for each point. It's a great article! (Here's the link again: Be Your Own Book Doctor.)

I especially liked Janice's comments on story structure, and would like to leave you with a link to one of her other articles on the subject: I Love it When a Plan Comes Together, Plotting a Novel: Part One.

Honestly, I can't believe how generous authors are on the web! In that article (I Love it When ...) Janice shares the fruit of her knowledge gleaned from years of writing. It is incredibly informative. I can't recommend Janice's blog, The Other Side of the Story, highly enough.

Question: Do you have any tips and tricks for editing a novel?

Other articles you might like:

- The Rules Of Romantic Comedy
- Different Kinds Of Story Openings: Shock And Seduction
- Chuck Wendig On Story Structure
- Story Structure


Photo credit: "Heavy Black & White" by Ben Fredericson (xjrlokix) under Creative Commons Attribution 2.0.

How To Write Description

Have you ever read a wonderfully descriptive passage and wondered, "How'd the writer do that?"

Today, Kim Aippersbach, in per post How to write description, tells us how. First, though, here's the description Kim uses:

And then they were crossing out of the tube into another foyer, and escorted by Christos through a pair of sleek doors clad in fine wood marquetry to a hushed hallway graced with mirrors and fresh flowers. And then into a broad living room backed by wide glass walls taking in a sweeping panorama of the capital, with the sun going down and the dusk rising to turn the city lights to jewels on velvet for as far as the eye could see, under a cloud-banded sky. (Captain Vorpatril's Alliance, by Lois McMaster Bujold)

1. Be active

The first thing I noticed: there isn't a single instance of the verb "to be."For a passage of description, there is a remarkable amount of action here. The characters are moving through the setting: "crossing into" and "escorted through" "and then into," so the reader is carried with them. But even the inanimate objects don't just sit there. They are "clad," "graced," "backed." The sun goes down, the dusk rises and turns, the eye sees.

2. Focus on important, key, details.

When describing something less is more.

The next thing I noticed is how much Bujold doesn't tell us. Do we know whether the room is carpeted? Do we know what color the furniture is? Is there a couch in the living room? Does it matter? She gives us only the most telling details, enough to convey luxury, taste, beauty. The rest we can fill in for ourselves.

3. Filter the description through your point-of-view character.

Kim writes:

Description reveals character, can even reveal emotion, by showing what the character sees. 

Here's how Kim sums it up:

Three Rules for Writing Description

1. Use strong verbs that contribute to the atmosphere you want to create.
2. Only describe the telling details.
3. Be aware of who is narrating the scene, and describe it through their eyes.

My article has just been a quick summary and doesn't do justice to Kim's analysis. She provides a detailed discussion. It is a wonderful, and wonderfully informative, article!

Other articles you might like:

- Mark Coker, Founder Of Smashwords: Six Ways To Increase Book Sales
- Different Kinds Of Story Openings: Shock And Seduction
- The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean

Photo credit: "FOREST KING" by balt-arts under Creative Commons Attribution 2.0.

Mark Coker, Founder Of Smashwords: Six Ways To Increase Book Sales

Mark Coker, founder of Smashwords.com, in his recent article, Six Tips to Bring Your Book Back from the Doldrums, shared 6 ways to increase book sales.

If you feel your book is under-preforming, Mark's article is a must read. What follows is a summary.

1. Does your book evoke passion in your readers?

One way you can tell if your book evokes passion is through its reviews.

For instance, are the reviews mediocre? If the book receives mostly 5 star reviews that's fabulous! People love your book and they're passionate about it. Also, if you get mostly one star reviews, at least your work has evoked passion in readers--perhaps not the kind you'd like, but still!

Three star reviews can be the worst. Readers didn't feel strongly either way.

That said, beware of clumping the reviews together and focusing on the average score. Look at the distribution. If your reviews are split between 5's and 1's then chances are you've written a great, controversial, book. There's a lot of passion there, don't change a thing!

Mark writes:

You need to WOW your reader.  It doesn’t matter if you write romance, mystery or non-fiction, if your book doesn’t move the reader to an emotional extreme, your job isn’t done.  

Bottom line: If folks aren't passionate about your book think about doing a major rewrite. Or, perhaps, take what you've learned, and write a new book.

No reviews

If your book has no reviews Mark suggests offering the book for free. Perhaps not permanently, just to get folks reading what you've written and hopefully get some reviews.

Why are reviews important? There's no way around it: reviews help sell books. Mark writes:

For the first two years (2008-2009), Boob Tube sold maybe 20 copies.  It had only one or two reviews.  My wife and I decided to set the price to free for six months.  We got 40,000 downloads, a lot of reviews, and even our first fan mail (yay!).  Then we set the price to $2.99 and it started selling.  Without reviews at the retailers, Goodreads, LibraryThing and elsewhere, few readers will take a chance on you.  FREE helps readers take that chance.

2. Does your cover image give the correct impression of your book?

If your reviews are 4 stars or over, congratulations, people feel passionate about your book and they like it. If it isn't selling well think about redoing the cover.

Here's Mark Coker's test for whether you need a new cover image:

1. Take all text off the title so it's just the artwork.
2. Ask yourself:

Does this image/artwork tell the reader: This is the book you're looking for to experience X?

If your book is a romance book then X="the feeling of first love."
If your book is horror then X="horror."
If your book is a thriller then X="edge of your seat suspense."
If your book is non-fiction or how-to then X="knowledge."
If your book is a memoir then X="an inspiring story of personal journey."

I think that's a great test!

Here's another one:

A test to see if your book cover is professional enough

Compare your book cover to "the top-10 sellers in your category or genre."

Does your cover look as good as these? You want your cover to look just as good, preferably better.

3. Is your book priced too high?

The more you charge the less likely it is that a reader is going to take a chance on it, especially if you're an unknown author. Mark writes:

For readers who could afford it, the high price can make the book less desirable when there are alternative books of equal quality at less cost.  Last year, when we conducted a comprehensive study of the impact of price on unit downloads and gross sales .... We found books priced at $2.99 earned slightly more than books priced over $10.00, yet enjoyed six times as many unit sales.

Another advantage of pricing your book a bit lower is that "if the reader feels they received a great read for the price, they may be more likely to give you a positive review, and positive reviews will lead to more readers."

4. Look at how many sample downloads led to sales.

The Smashwords store has a little-known feature I think is entirely unique in the ebook retailing world:  We tell you how many partial samples were downloaded.  If you click to your Dashboard, you’ll see a column for book sales and a column for downloads.  The download count is a crude metric, but if you understand how it works, you’ll be able to use it as a relatively good tool.  This data is only for sales and downloads in the Smashwords store.

The download data includes both sample downloads and full book downloads for purchased books.  If a customer or sampler downloads in multiple formats (such as epub and mobi), or downloads multiple times, each time will tick the download count higher.  To make the data cleaner, subtract your paid sales from the download count.  Divide your sales at Smashwords.com by the number of downloads.  This will tell you, roughly, what percentage of downloaders actually purchase your book.

When I do the numbers on my priced book, The 10-Minute PR Checklist, I find that approximately 13% of sample downloads lead to sale.  That’s pretty good.

 The higher the percentage the better.  50% would be fabulous.

5. Are you targeting the right audience?

No one can make everyone happy. Don't even try. If you give your paranormal romance to a person who only reads sci-fi then chances are they'll hate it, no matter how great of a paranormal romance it is.

When you know who your target audience is make sure your "title, book cover, book description, categorization and marketing are all aligned to target that audience with fine-tuned precision.  If you send the wrong messages, you’ll fail to attract the right readers.  Instead, you’ll attract the wrong reader, and the wrong reader will give you poor reviews."

In short, "Avoid the temptation to target a broader-than-necessary market."

6. Grow a thick skin and never give up!

As Mark Coker writes, it takes bravery to publish. Chances are your book will get brutalized at least once and the reader who did it may not stop at your book, they may start in on you!

We can't improve as writers if we don't know our weaknesses. Learn from the reaction your story gets and do whatever it takes to make it better. As Mark Coker writes:

If you want to be a successful writer, you have to be willing to listen to the judgment of readers.  Your readers, through their word of mouth, will determine how many other readers you reach.

Mark Coker's article Six Tips to Bring Your Book Back from the Doldrums is filled with practical, easy to follow, advice. I highly recommend it to anyone wanting to increase the sales of a book.

Other articles you might like:

- Embrace Rejection: Write More, Write Better, Share Often
- 8 Ways To Channel The Power Of Your Unconscious Into Your Writing
- 4 Ways To Enchant Others

Photo credit: "The art of silence..." by VinothChandar under Creative Commons Attribution 2.0.

Embrace Rejection: Write More, Write Better, Share Often

Since I wrote about Johanna Penn's article on her fear of being judged because of what she writes (she is moving into writing horror) I've been deeply affected by the sentiments she expressed.

I guess, then, it should come as no surprise that Joe Bunting's post over at The Write Practice--Why You Should Be Excited About Failure And Rejection--struck a cord with me. Joe advises us: Don't try to be unrejectable.

Embrace Rejection

Joe Bunting writes:

We are all scared. However, what separates successful writers from wannabe writers is what they do in the midst of their fear. They lean in. They don’t run. They don’t fight. They do the right thing, the thing they said they were going to do in the first place.

Seth Godin says, “Write more, write better, share often. It’s entirely possible you’re not good. But the key word that’s missing is, ‘yet.’”

Your job isn’t to be unrejectable. Your job is to share your story.

Thanks Joe, I needed that reminder. I highly recommend reading Joe's article, it's short but packed with writerly goodness.

Other articles you might like:

- 8 Ways To Channel The Power Of Your Unconscious Into Your Writing
- Different Kinds Of Story Openings: Shock And Seduction
- The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean

Photo credit: "154/365 They're Coming To Get You." by martinak15 under Creative Commons Attribution 2.0.

8 Ways To Channel The Power Of Your Unconscious Into Your Writing

This morning I read a terrific article by Tim Ferriss about an interview he did with Fred Waitzkin, author of Searching for Bobby Fisher, a book about his son's journey to win the national chess championship.

8 Ways To Channel The Power Of Your Unconscious To Help You Write

Specifically, Tim Ferriss was interested in the tricks and processes Fred Waitzkin has used to help him write fiction. Ferris writes:

[I disagree with labeling Fred Waitzkin's son, Josh, a prodigy] because Josh has a process for mastery, and he’s applied it to many fields, not just chess. As it turns out, he’s not the only one in his family with this skill. His father, Fred Waitzkin, has processes and tricks he uses for writing both non-fiction ... and fiction…

Although there is no cut-and-dried method for summoning the muse, here are various processes the elder Waitzkin has found useful. They all involve ways to access your unconscious.

1. Write down your dreams.

Working on The Dream Merchant with numerous characters and dramatic scenes to bring to life I had to learn how to access my unconscious. This is an important part of my creative process. Let’s start simply. We all dream but some of us cannot recall our dreams in the morning. You can train yourself to remember your dreams. Put a pad on the shelf beside your bed and begin writing the second you open your eyes. Even before you open your eyes reach for the pad. Don’t turn on the light. Start scribbling in the dark. You will remember your dreams if you do this. The way I think of it, and I’m not a psychologist, you’ve created a bridge between your conscious and unconscious.

2. At the end of your writing day leave a small portion of your writing unfinished.

As a novelist I want to travel on this bridge, regularly–in fact, every day I want to cross over. Here is a deep trick that I learned from an interview with Ernest Hemingway: At the end of each writing day I leave unwritten a small portion of what I still had in my mind to compose that day.

[Tim note: Hemingway would routinely leave a sentence half finished, as discussed in A Moveable Feast.]

Then riding home on my bike from my office, at some level my mind is working on the unwritten paragraphs that I might have written but didn’t. I’m working on these paragraphs while I’m chatting with my wife or watching the ball game—but I am making connections that I never imagined. 

3. Always carry something with you to write in.

This can be either a pad of paper or an app on your cell phone. 

Sometimes my thinking is just a vague sense of impressions but other times an idea comes rushing to the surface. I always carry a small pad in my pocket to write it down. I’ve learned that if I don’t write it down, the insight is likely to disappear like many unwritten dreams. Then when I begin writing again the following day, I’ve discovered that the unwritten scene already contains hints and urges about where the narrative might next go–very often there are elements here that I hadn’t consciously thought about before.

4. Treat your unconscious as a collaborator, give it assignments.

When I was writing The Dream Merchant this dalliance with the unconscious felt very natural and I was able to give this hidden part of myself assignments. I would say to myself what does Jim worry about at night in bed? Or how does he tell his wife that he is going to leave her for another woman? Then I would be riding on my bike or watching the game, and the answer would rise to me–this would happen surprisingly often. Although each time it was a little thrilling, this bolt from the blue connection with a shadowy hard working world that we don’t know so much about.

5. Don't give up.

One last point about my unusual dialogue with myself: It takes practice like running or swimming fast miles. When I haven’t written for a month or two I cannot access this part of being and I have to begin training in my fashion. But it gives me confidence to know that I have been there before and will probably be able to get back again.

6. Get energized.

For me, inspiration is primarily energy.

.  .  .  .

I look for energy all over the place. Often just riding my bike along the river for three miles from my house to the office heightens my mood. Then I make a cup of green tea and look at my work from the previous evening. I always read back several pages before I try to write anything new. Moving back through interesting material seems to give me momentum to push ahead…

But what if there is no energy? I read the paper. I switch on sports talk radio. I look at my watch. I pace. I am eyeing the lunch hour. It’s getting closer to lunch. One hour before I meet my friend Jeff for turkey burgers. Forty-five minutes. Now I’m getting nervous. Thirty-five minutes before I have to leave my office! Suddenly I feel an urgency. I CAN’T leave for lunch without writing one good paragraph. I’m sweating, feeling the time pressure… and the words pour out. Sometimes a writer can do more in a fervent half hour than in a dreary eight-hour day. I’ve often played this game with myself.

There are many energy tricks. Sometimes in the afternoon when I’m groggy I wander over to Starbuck’s for a coffee. But it’s not just caffeine. I know all the women who work there. They know me. We chat. I love these talks–okay, innocent flirtations. Sometimes I even get a free latte. When I get back to my office I usually feel fired up.

7. Get friends to help you break through if you're deadlocked.

I have a couple of friends that I rely upon. They are very perceptive about the human heart. I’ll talk quite specifically about what isn’t working in a section of my book. I listen closely to what they think. I’ve done this many times. My wife Bonnie has helped me many times like this.

Here is the curious thing. Often her advice or the idea of a friend isn’t what I end up doing. But listening to the ideas engenders a new idea. The whole point is that you have to get moving. Movement begets movement. You need to get unstuck.

8. Make your characters "true".

When you are trying to create a character he or she must be “true.” Fiction is not making up stuff out of whole cloth. It is always linked to a writer’s experience. Fiction is a wonderful tango between the writer’s experience and his imagination.

To read Tim Ferriss's excellent article, click here: The Alchemy of Writing--More Tips from a Pro.

Other articles you might like:

- 4 Ways To Enchant Others
- The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean
- Writing And The Fear Of Judgement

Photo credit: "The lonely walk" by VinothChandar under Creative Commons Attribution 2.0.

4 Ways To Enchant Others

Wouldn't it be great to be enchanting?

Enchanting people find it easier to attract others, to schmooze.

And, of course, if you'd like folks to notice you, to read your book, your short story, your anthology, being enchanting helps.

(Perhaps that sounds predatory, but I don't mean it to be. Being enchanting would be lovely in and of itself.)

Sadly, I'm part of the less-than-enchanting crowd. So are most writers I've met. Perhaps it comes with the territory. Anyone who writes several hours a day about worlds conjured from their imagination can be forgiven if they emerge from their writer's cave with all the charm of a starving bear.

At least, that's what I tell myself.

Except I know it's not true. I found Robert J. Sawyer enchanting. Mesmerizing even. Not only is he one of the better known science fiction writers alive today, not only has he been engaged in many side projects, not only does he regularly take time out of what has to be an insanely busy schedule to teach other writers, he comes across as a genuinely nice, funny, absurdly intelligent, person.

Is there any hope for the rest of us less socially gifted writers?

Fortunately there seems to be. I just read a great blog post by Penelope Trunk: How To Be Enchanting. She says that people who are enchanting do 4 things:

1. Say yes.

Opportunities to enchant happen all the time.

- a retail transaction
- a high-level corporate negotiation
- a Facebook update

Perhaps even ... a blog post? (grin)

But that doesn't answer the question: Why say "yes"? After all, saying yes involves us in more work, more time spent, and we have precious little of that.

Here's Penelope Trunk's answer:

“A yes buys time, enables you to see more options and builds rapport,” is what Guy writes. “By contrast, a no response stops everything. There’s no place to go, nothing to build on and no further options are available. You will never know what may have come out of a relationship if you don’t let it begin.”

Though if you say yes it's a good idea to follow through.

2. Be passionate.

Penelope Trunk writes:

I was coaching this guy, Jonathan Mann, and the first thing I learned about him is that he has written a song a day for 1500 days in a row and they’re all on YouTube. That is immediately enchanting because determination and commitment are enchanting.

People want to be close to passion because passion is contagious. Also, when you are passionate about something you can find an immediate connection to other passionate people, because commitment to a cause and the drive to get there are scary to own, so people who are doing it feel an immediate bond.

I agree! Passionate people do find it easier to connect with each other because of a shared way-of-being. Even if we aren't familiar with what the other person is passionate about we connect with their drive, their commitment, their fire.

For me, one such person is the singer/songwriter for The Land of Deborah.  The Land of Deborah is more than a band, it's a way-of-being, an approach to life. Just being around Deb makes me feel re-energized creatively.

Penelope's blog post doesn't stop there, she goes on to discuss two more traits of the enchanting and they're well worth reading. Penelope's post is wonderful, and as always I love her quirky links.

Penelope left her readers with a song she loved, so I thought I'd do the same. Here are four songs by The Land of Deborah; they're free! My favorite is Should've Stayed In Bed. Enjoy!

Other articles you might like:

- The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean
- Writing And The Fear Of Judgement
- The Rules Of Romantic Comedy

Photo credit: "* * *" by aussiegall under Creative Commons Attribution 2.0.

The New Yorker Rejects Its Own Story: What Slush Pile Rejections Really Mean

The Experiment

It's easy to forget that one can have the best prose in the world, but that's not enough to get your story accepted.

So David Cameron decided to remind us.

As an experiment, Cameron copied a short story that had been published in The New Yorker--one of the top professional markets in North America (The New Yorker was said to pay $7,750 per story in 2003) and submitted it to "a slew of literary journals, all of whom regularly grace the TOC of Best American Short Stories, Pushcart Prize, O’Henry, etcetera and etcetera".

The cover letter simply said that Cameron was "an unpublished writer deeply appreciative of their consideration".

Cameron also submitted the story back to The New Yorker.

Then he waited. Would one of the publications catch his duplicity and cry foul? Would any of the magazines accept the plagiarized story and, if so, how many?

Well, you've probably guess the outcome: none of the magazines accepted the story, not even The New Yorker!

David Cameron writes:

Dear reader, every single one of these journals rejected my poor New Yorker story with the same boilerplate “good luck placing your work elsewhere” auto-text that has put the lid on my own sorry submissions. Not a single personal pleasantry. What’s more, the timeframes tracked perfectly. For example, if the Beavercreek Fucknut Bulletin (not a real journal, but representative) generally takes thirty days to relegate my stuff to the recycle bin, then our New Yorker story ... fared no better.

Cameron thought his results might be a fluke so he tried again, this time with a story "by a rather celebrated youngish New Yorker author" but he had the same results; no one accepted the story.

What Was The Point?

What did David Cameron's experiment demonstrate? First and foremost it's a much needed reminder that the slush pile "is often just a cleanup chore relegated to overwhelmed readers, and ... rejections might mean nothing".

We've all been told that, but it's nice to have a demonstration of it every once in a while.

Still, I'm surprised no one caught onto the hoax. Cameron writes:

A part of me really wanted to be outed, to have some vigilant editor write back and say, “Nice try. Consider yourself blacklisted.” Or even to put me in the horribly awkward position of an acceptance!* That would mean there’s hope, that open submissions weren’t just, in so many cases, empty gestures.

To read more about David Cameron's audacious experiment, click here: The New Yorker Rejects Itself: A Quasi-Scientific Analysis of Slush Piles.

The Steps Experiment

In the comments to Cameron's article someone mentioned The Steps Experiment that Chuck Ross conducted in 1975.

[Chuck Ross] typed up twenty-one pages of a highly acclaimed book and sent it unsolicited to four publishers (Random House, Houghton Mifflin, Doubleday, and Harcourt Brace Jovanovich), claiming it was his own work. The work he chose for this experiment was Steps, by Jerzy Kosinski. It had won the National Book Award for Fiction in 1969 and by 1975 had sold over 400,000 copies. All four publishers rejected the work, including Random House, who was its original publisher.

I encourage you to read the entire article: The Steps Experiment, 1975. Chuck Ross--who later went onto a successful career in journalism--later did another experiment and submitted the script of Casablanca to over 200 movie agents.

Unaddressed Questions

Cameron didn't give us the names of the authors of the stories he sent out, and of course he didn't give us the names of the magazines which rejected them, but it would have been nice to have been told:

- How many magazines he sent the stories out to.
- How long he gave the magazines to respond before he wrote his article.
- How many replies he got back.
- The approximate pay rate of the magazines he sent the stories to (so readers could get a feel for the kind of markets they were rejected from).

Also, it would have been interesting to see the cover letter Cameron sent out with the stories. Though I'm sure it was well written, it would help rule out the objection that it was the cover letter that killed the editors' interest.

Afterthoughts

I did some research as I wrote this article and came across interesting articles I want to share.

Dan Baum's story of his short career as a staff writer at The New Yorker

A few days ago a friend asked how much I thought a staff reporter at Wired makes a year but I had no idea. Dan Baum's article answered my question (in 2006 about 90k) and gave a tantalizing peek into that life.

Dan Baum originally told his story as a series of tweets (2009) and then gathered them together on his website. Here's a link: New Yorker Tweets.

By the way, if you would like to submit to The New Yorker, send a PDF to The New Yorker's online submission form. Deborah Treisman is the fiction editor.

Submissions may also be sent snail mail to the fiction department at The New Yorker, 4 Times Square, New York, NY 10036. (No simultaneous submissions)

How much can one get for a short story?

It depends, of course, on a number of factors: the market, the length of the story, and so on, but here are the numbers for a few markets: How much does a short story earn in a magazine? 

(Duotrope used to be one of the only places a writer could get market information but now there is the The Grinder.)

The following numbers are approximate:

New Yorker: $7,750 for 5,000 words (as of about 2003)
New England Review: $230
Asimov's Science Fiction: $427
Rolling Stone: $3.40 a word (as of about 2002)

Question: Have you ever been tempted to do a similar 'sting' on traditional publishers?

Other articles you might like:

- Writing And The Fear Of Judgement
- The Rules Of Romantic Comedy
- 5 Tips For Creating Memorable Character Names

Photo credit: "More from Vivid" by aussiegall under Creative Commons Attribution 2.0.

Writing And The Fear Of Judgement

Johanna Penn's post, On Writing And The Fear Of Judgment, felt as though she was writing right to me. I like to think I'm getting more brave, but I used to be paralyzed by fear of what folks would think of my stories, whether they would look at me differently.

Johanna writes:

. . . I’ve written dark things before but this is the first time I haven’t censored myself as I write. I’ve given the dark side of my mind permission to indulge but as I am about to start the rewrites, I find myself on the edge of crossing things out, not because they need editing, but because I don’t want people to read them and judge me for my thoughts.

How can writers assuage this fear? Johanna has five suggestions:

1. Use A Pseudonym

A pseudonym is a perfectly respectable way to go (see: Should You Use A Pen Name?). As Johanna mentions, many erotica authors use pseudonyms, but pseudonyms, or pen names, are also used by many authors--Dean Wesley Smith for instance--as a way to brand his books.

2. Get A Support Group

We need to surround ourselves with people who understand and accept us as we are. Sometimes this will be a spouse, sometimes it will be a group of writers, sometimes it will be our friends or family.

It is wonderful to be brave and put yourself out there, but each of us needs a safe space; somewhere we can be nurtured when we need it.

3. Accept That We All Have A Dark Side

And that's a good thing! Johanna writes:

In Jungian psychology the shadow is a critical part of our whole self. Life is not all sweetness and light and there is but a thin veneer of civilization over our ancient animal genetics. Death and fear, violence and sex will always be part of our culture so as writers it’s important to embrace that and reflect it in our writing. I am acknowledging the shadow more in my own work, and also feel that when the things we fear are on the page, they have less power over us.

Very true.

4. Realize That When People Judge Your Book They Aren't Judging You

After all, they don't know you. Naturally, whatever you write, no matter how well you write it, some folks aren't going to like it.

It's both feel-good and instructive to look at one star reviews some great works of literature have received.

The appeal of a book, even a great one, isn't universal. For example, someone who despises fantasy in any form will naturally hate your paranormal romance if they, in a fit of masochism, read it.

That's life.

5. You Are NOT What You Write

Yes, maybe you are what you eat, but you aren't what you write.

Stephen King writes bone-chilling acts of horror but he is a laid back community-minded family man.

Also, I'm guessing that the screenwriters of Saw (James Wan & Leigh Whannell), one of the most violent horror movies ever, are no more strange than the average writer. Notice I didn't say the average person. (grin)

As Dean Wesley Smith wrote not too long ago, the only way you can kill your career is if you stop writing. That's it. That's the only way. Write, write what your heart is calling you to write, and publish it. Wash and repeat.

Now it's time for me to toddle off and practice what I preach!

Do you ever fear being judged because of what you write? How do you deal with it?

Other articles you might like:

- The Rules Of Romantic Comedy
- 5 Tips For Creating Memorable Character Names
- Joe Konrath says KDP Select Made Him $100,000 In 6 Weeks

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The Rules Of Romantic Comedy

Michael Hauge's Analysis Of Romantic Comedies

1. Hero's goal is to win the love of another character

This is the hero's main goal. He can have other goals, but this one needs to be introduced first and this conflict has to be the last one resolved. When it is, that's the end of the story.

2. The hero must have another goal, one besides winning the affections of his/her romantic attentions.

For instance, in Groundhog Day Bill Murray relentlessly pursues a relationship with Andie MacDowell but he also very much wants the day (it repeats Sisyphus-style) to end.

Two goals are better than one because they keep the pace lively. I thought some of the best scenes in Groundhog Day were those where Bill Murray was trying to escape the town. (BTW, rumor has it that Mr. Murray was bitten by the groundhog and had to have rabies shots!)

Another benefit of the hero having two goals is that the writer can make sure, at some point, they become mutually exclusive.

For instance, in The American President the president wants his crime bill passed but it turns out the only way that's going to happen is if he sells out his romantic interest.

3. When the people on the screen are laughing the audience isn't

Michael Hauge writes,

The driving motivations in romantic comedies actually grow out of immense pain and loss. The plots of the most successful romantic comedies of all time involve unemployment, disease, prostitution, physical abuse, physical deformity, humiliation, ridicule, the loss of one's children, attempted assassination, suicide and death.

The humor then arises from the way the heroes OVERREACT to their situations. They devise fantastic plots, pose as women, adopt false identities, juggle two lovers simultaneously, tell enormous lies, fly across the country to meet a voice on a radio, or do everything imaginable to sabotage their best friend's wedding. (Writing Romantic Comedies)

4. Romantic comedies are sexy

At some point your characters are going to have to confront their sexual desires for each other. The important thing is that if they end up going to bed, "we must see the events that lead to that decision, at least until the moment the two lovers embrace and the camera dissolves away".

5. There must be a happy ending

This doesn't mean that the hero always has to win over the heart of his object of desire and walk off with her/him into the sunset. It does mean that the audience must be left feeling satisfied with the resolution. You want them to feel that the ending was the best and most appropriate one.

6. Romantic comedies always involved deception

Most romantic comedies involve deception. One of the two people involved in the relationship, usually the hero, is lying to, or withholding information from, someone--usually the person the hero is falling for.

This lie will, of course, be found out but this usually happens after the midpoint. Michael Hauge writes:

When the secret is finally revealed or the lie exposed, it will split the lovers apart. In You’ve Got Mail Joe Fox doesn’t tell Kathleen Kelly that his corporation is the one threatening her independent bookstore. In The American President, Sydney Ellen Wade doesn’t know that President Shepherd is using her to get his gun control bill passed. (The 6 Categories Of Romantic Comedy)

5 Things That Must Be True Of All Romance Characters

I'll just list the major points, I encourage you to read Michael's article.

1. The audience must identify with the hero's desire for the romance character.

2. You must convince the audience that the hero and his/her romantic object are a perfect fit, that they are destined for each other.

3. Insurmountable obstacles must separate the two lovers.

4. The romance character must be intertwined with the hero's other goal. For example, in The American President the president's love interest is a lobbyist.

5. The romance character must interfere not only with the hero's desire for them but also with the hero attaining his/her secondary goal.

For example--again using The American President--the president has two goals: to win the heart of his love interest (Sydney) and to get re-elected. Sydney, though, is a lobbyist. This creates a conflict of interest--or the appearance of one--and, in any case, their relationship is hurting him politically. By the 3/4 mark it looks as though the president has a choice: re-election or Sydney; he can't have both.

Michael Hauge also writes about character archetypes and the structure of a romantic comedy. His article is well worth a read: Writing Romantic Comedies.

I'll leave you with this 2:16 minute video of Michael Hauge talking abut romantic comedies. You can read more about Michael Hauge here: Michael Hauge's Story Mastery.

Other articles you might like:

- 5 Tips For Creating Memorable Character Names
- Different Kinds Of Story Openings: Shock And Seduction
- Story Structure

Photo credit: "adam green:castles and tassels" by visualpanic under Creative Commons Attribution 2.0.

5 Tips For Creating Memorable Character Names

One thing I've always envied about J.K. Rowling is her ability to create awesome character names.

Well, that, and her wildly successful stories, but that's a post for another time.

Naming Characters

I have trouble naming characters.

I'll either fall in love with a name that everyone else on the planet hates with a burning passion or I won't be able to think of anything.

And so it was with great interest I read How to Name Your Characters by The Magic Violinist (and with a name like that how could I not be intrigued).

Before we get into naming, though, we need to ask: What are we looking for in a name? What characteristics must it have? TMV writes:

a. The name "needs to be unique".
b. The name needs to be memorable.
c. Your readers--and you, if you narrate the audiobook--need to be able to pronounce it.

One of my all-time favorite names is "Albus Dumbledore" from J.K. Rowling's Harry Potter books. "Rubeus Hagrid" is pretty great too.

Oh, and Dudley Dursley and, my number one favorite, "Severus Snape". That name communicates a lot about the character. "Snape" sounds like "snake" and when I say the whole thing I almost hisss.

But I'm getting carried away! I won't give you all 5 of TMV's suggestions, just two and some links. I heartily recommend you read her article over at The Write Practice.

Remember Your Friends

TMV writes,

I often base my characters off of my friends because my friends are so interesting! When I do that, sometimes my characters end up with my friends’ names. Maybe not their exact names, but pretty close. Kirsten will become Kristen, Sophia will become Selena, and Sarah will become Sara.

Another tip someone gave me was to look at the names in movie credits; while I've never borrowed one whole, it is fun to mix and match first and last names. Often while I'm doing this a great name will come to me; almost as though it chose me rather than vice versa.

Also, TV credits work well, as do names from personal ads. Also I've often looked at statistical data, especially when I'm curious about what names were common in a certain year, or when I wanted a regional name.

Baby Naming Books And Sites

Where would writers be without baby naming sites? I shudder to think.

Fortunately, there are many sites on the web offering oodles of names, and even their meanings and the frequency of the name in different populations.

And all for free!

Here is a site I've used in the past: Behind The Name.
Also, there are some great random name generators out there, in fact Behind The Name has one (and, no, I'm not an affiliate!).

Just Google "random name generator" and you'll find a lot of fun, time-sucking, links.

How do you choose a name? What is your favorite character name?

Other articles you might like:

- Joe Konrath says KDP Select Made Him $100,000 In 6 Weeks
- Book Cover Design: Free Programs For Choosing A Color Palette (Adobe Kuler & Color Scheme Designer)
- Different Kinds Of Story Openings: Shock And Seduction

Photo credit: "the smiths:these things take time" by visualpanic under Creative Commons Attribution 2.0.