Karen Woodward

Sunday, March 31

Rewriting

Sometimes when a story isn't working the only thing you can do is start over from scratch.

Just typing that made me cringe!

Signs that your manuscript needs a rewrite

How can we tell if our story needs a rewrite as opposed to a re-draft?

Heather Anastasiu talks about her decision to rewrite her novel Override in her wonderful article, The Art of the Rewrite.

I recognized I’d need a rewrite when all of my beta partners, my agent, and my editor seemed less than enthusiastic about the draft. Nobody came out and said it was horrible, but there was a lot of beating around the bush about how bad it was. I think I probably scared my editor with that first draft. I imagined her in the office reading it and being like ‘why on earth did I ever buy this trilogy?’

It's difficult to judge what is wrong with my own stories so I am grateful to have critique partners and beta-readers who can be objective about my work when I can't.

What to keep in mind when doing a rewrite

The nuclear approach

One way of doing a rewrite is to open up a brand new file in your word processor and begin again from scratch.

Heather decided to go a nicer, kinder, less traumatic route.

a. Outline the book as it stands

b. Re-read sections and target the problems.

c. Brainstorm about how to fix the problem.

For instance, Heather recognized that she was having difficulty relating emotionally with her protagonist and so--naturally--her readers were as well.

d. Look at the pacing. Are our character's goals clearly spelled out?

e. At each step, ask what your protagonist wants. What motivates her. What are her worst fears?

We need to figure out what our characters want and then trow obstacles in their path to prevent them from getting it.

f. Know your weaknesses and strengths as a writer.

Heather writes:

So these are the big things to keep in mind when you do a re-write:

Take some time away from the draft. Get feedback and then try to look at it with fresh eyes. And be brutal with yourself—not the self-defeating kind of brutal, aka, ‘I suck and will never be successful at this writing thing!’ Instead, you need the productive kind of brutal, acknowledging that this is a work in progress, that all writers (both published and unpublished) are facing these same problems, and gearing yourself up to dig in to do the work that needs to be done.

What does my character want and what do they fear? Am I crafting the plot to really push these desires and fears to the forefront so I can get a full emotional arc for my characters? Your characters are what stay with a reader, not clever plots. Your character’s emotional arc is what will make readers laugh and cry.

Do I lose tension during any section of the book? Do I keep the stakes high? Usually this ties back into the first point—does the reader genuinely feel like the main character has something important to lose, that their wants and desires are challenged in some way in each chapter? Don’t be afraid to hurt your main character or take them scary places. Being a writer means being willing to gut your main characters and then kick them while they’re down. Conflict is what stories are all about.

Excellent advice!

Question: Have you ever done a complete re-write of a manuscript, starting again from scratch? Please share your wisdom!

Saturday, March 30

Are Libraries 'Sitting Close To Satan'?

Do Publishers View Libraries As Their Adversary?

Did you know that some publishers refuse to sell ebooks to libraries? Or that some publishers have made ebooks impossibly expensive for all but the best funded libraries to purchase?

In publishers’ eyes librarians are “sitting close to Satan”, declared Phil Bradley, president of the Chartered Institute of Library and Information Professionals. He was addressing indignant librarians who recently gathered in London to swap tales of e-lending woe. Some publishers have refused to sell their e-books to public libraries, made them prohibitively costly or put severe restrictions on their use. Although 71% of British public libraries lend out e-books, 85% of e-book titles are not available in public libraries, according to Mr Bradley. In America the average public library makes available only 4,350 e-books (Amazon, an online retail giant, stocks more than 1.7m).

That's incredible! Especially this line:

Although 71% of British public libraries lend out e-books, 85% of e-book titles are not available in public libraries ...

(All quotations, unless otherwise noted, are from: Folding shelves.)

Owning vs Licensing

If I go to the bookstore and buy a book, a physical book, something I can hold in my hands, under copyright law I'm allowed to lend that book out. We've all done this, we loan books out to friends as well as borrow them. But ebooks are different. When I buy an ebook from Amazon all I have bought is a license to use the book. Unless the author/publisher allows it I can't lend that book out.

Under copyright law, anyone who buys a printed book can lend or rent it, but the same does not apply to digital works. Libraries do not own these outright. Instead they must negotiate licensing deals for each book they want to lend. They put the e-collections on servers run by computer firms such as OverDrive and 3M, which typically charge around $20,000 annually, plus a fee for each book.

Also, publishers often limit the number of times a book can be lent out by a library before the licence has to be re-purchased (see: Publisher's fear of e-books is hurting libraries).

I generally like to put a positive twist on my articles--I love happy endings!--but this particlar cloud seems to come without a silver lining.

But we can make one.

In a recent post Joy Konrath said he would make any of his books available to any library who wanted it for a flat fee of $3.99 per ebook. The library would then own the rights to use that book forever. Here are his complete list of terms:

1. Ebooks are $3.99

2. No DRM.

3. The library only needs to buy one ebook of a title, and then they can make as many copies as they need for all of their patrons and all of their branches.

4. The library owns the rights to use that ebook forever.

5. The library can use it an any format they need; mobi, epub, pdf, lit, etc. And when new formats arise, they're free to convert it to the new format.

That quotation is from: Ebooks For Libraries, a post which Joe Konrath made on August 29th of last year. Here's another post Joe made about the same topic: E-books in Libraries: They Still Don't Get It.

Question: Would you offer any of your books to a library under Joe Konrath's terms?

Thanks to The Passive Voice Blog for the link to the article in The Economist.

Friday, March 29

How To Write A Great Opening For Your Story

Few would disagree that the first line of a story is the most important for hooking a reader's interest but how does one do this?

A CHARACTER With A PROBLEM In A SETTING

J.M. Ney-Grimm writes:

There is a structure that consistently hooks most readers’ attention. This “hook opening” won’t be right for every story, but it serves many of them well.

A character with a problem in a setting. (The First Lines)

We want the first line to provoke a question. For instance, here is one of the best first lines I've ever read:

It was a wrong number that started it, the telephone ringing three times in the dead of night, and the voice on the other end asking for someone he was not. (Paul Auster, City of Glass)

This opening line raises a number of questions: Who was the caller? Who did they intend to call? Why were they calling? Why let the telephone ring exactly three times? As long as the reader is interested in answering these questions they'll keep reading.

Use The Senses: Use all five senses every 500 words.

J.M. Ney-Grimm writes:

Ground your reader in what your character is seeing, hearing, touching, smelling, and tasting. Make your opening rich with sensory detail. Your reader will feel like she or he is there, chilled by the breeze, smelling cinnamon, tasting vanilla, hearing chapel bells, and watching the cavalry thunder over the hill crest.

Touch on all five senses in the first three paragraphs and continue to mention them every 500 words. (The First Lines)

Having hooked your reader, keep them immersed with your richness of sensory detail.

J.M. Ney-Grimm's article, The First Lines, is well worth the read. Thanks to The Passive Voice Blog for the link.

Creating Flawed Characters

It's difficult to create flawed characters.

I feel protective of my creations, I want them to grow up to be tall and strong and to remember to floss and look both ways before they cross the street.

Instead I have to make them drink too much, or have a temper, or lack compassion. But that's not enough, I must also throw misfortunes at them. My darling characters lose their jobs, their health, their family, their place in society.

Creating Flawed But Likable Characters

If, like me, you find it a constant challenge to make life hard for your characters, then A.L. Sowards article, Creating Flawed (But Likeable) Characters, is a must-read.

But, you might ask, why must we make our characters flawed?

The fact is, flaws make characters interesting. (Also, they leave room for improvement. If the protagonist is perfect at the beginning of a story it doesn't leave her any room to grow, to change.)

Sowards writes:

Chances are, your reader can relate to your character’s Diet Coke addiction because your reader just opened another Diet Pepsi or opened another bag of M&Ms. Does your character have a hard time getting out of bed in the morning? Who can’t relate to that? Does your character spend too much time on Facebook? Maybe your reader does too, or if not them, their roommate or sister or someone else they know and still love. Does your character get nervous talking to people of the opposite sex? If your reader survived junior high, they can relate.

Balance Flaws With Strengths

If a character is nothing more than a bundle of flaws then it's going to be as difficult for readers to relate to her as it would be if she were perfect.

For instance, if a character does something despicable, give them a great motivation.

If, like Shrek, one of your characters is "rude and crude" but he's funny chances are we'll end up liking him.

Character Is Plot

Sowards gives the following examples:

Perhaps your heroine is obsessed with having perfect nails, and while she’s touching up her two-day old manicure, she misses a call from her romantic interest, or lets down her best friend who really needed her right that second. And maybe as part of the climax she has to do something she knows will result in a broken nail, but the trade-off will be worth her sacrifice.

Or does the villain in the novel know your character has a lead foot, or a weakness for raspberry sherbet, or really bad aim with his left arm? Can the villain use your hero’s weakness against them, or somehow force your character to overcome their flaw just in time to save the day?

Excellent points to keep in mind!

I've barely touched on all the riches contained in A.L. Sowards article, I encourage you to read it in full: MBM: Creating Flawed (But Likable) Characters, By A.L. Sowards.

Thursday, March 28

Amazon Is Acquiring Goodreads

Amazon is acquiring Goodreads.

This news shocked me. I hope the wonderful book culture that has developed over at Goodreads doesn't change.

Why Goodreads Wants To Join Amazon

Otis Chandler, Co-founder of Goodreads, says he is excited about the development. He writes:

1. With the reach and resources of Amazon, Goodreads can introduce more readers to our vibrant community of book lovers and create an even better experience for our members.

2. Our members have been asking us to bring the Goodreads experience to an e-reader for a long time. Now we're looking forward to bringing Goodreads to the most popular e-reader in the world, Kindle, and further reinventing what reading can be.

3. Amazon supports us continuing to grow our vision as an independent entity, under the Goodreads brand and with our unique culture. (Exciting News About Goodreads: We're Joining the Amazon Family!)

The folks over at The Verge point out that ...

Amazon already owns Shelfari, a social and information network described as a "community-powered encyclopedia for book lovers." Together with Goodreads (as well as its own lightweight / somewhat anemic kindle.amazon.com social notes network) Amazon will soon own the major online recommendation and commentary engines for new and old books. (Amazon to acquire Goodreads, a social network for book recommendations)

I guess, also, Goodreads represents a wealth of data on readers preferences and reading habits.

This story is still developing so stay tuned for further news.

(Thanks to +Andy Goldman for mentioning Amazon's acquisition of Goodreads.)

Question: What do you think about this merger? Will it be good or bad for readers and writers?

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?

Wednesday, March 27

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!

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.

Tuesday, March 26

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.

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

Tim Ferriss Asks Fred Waitzkin, Author Of 'Searching For Bobby Fisher,' About The Processes And Tricks He Uses In His 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.

Pages

Sunday, March 31

Signs that your manuscript needs a rewrite

What to keep in mind when doing a rewrite

The nuclear approach

a. Outline the book as it stands

b. Re-read sections and target the problems.

c. Brainstorm about how to fix the problem.

d. Look at the pacing. Are our character's goals clearly spelled out?

e. At each step, ask what your protagonist wants. What motivates her. What are her worst fears?

f. Know your weaknesses and strengths as a writer.

Other articles you might like:

Saturday, March 30

Do Publishers View Libraries As Their Adversary?

Owning vs Licensing

Other articles you might like:

Friday, March 29

A CHARACTER With A PROBLEM In A SETTING

Use The Senses: Use all five senses every 500 words.

Other articles you might like:

Creating Flawed But Likable Characters

Balance Flaws With Strengths

Character Is Plot

Other articles you might like:

Thursday, March 28

Why Goodreads Wants To Join Amazon

Other articles you might like:

Be Your Own Book Doctor

Other articles you might like:

Wednesday, March 27

1. Be active

2. Focus on important, key, details.

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

Three Rules for Writing Description

Other articles you might like:

1. Does your book evoke passion in your readers?

No reviews

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

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

A test to see if your book cover is professional enough

3. Is your book priced too high?

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

5. Are you targeting the right audience?

6. Grow a thick skin and never give up!

Other articles you might like:

Tuesday, March 26

Embrace Rejection

Other articles you might like:

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

1. Write down your dreams.

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

3. Always carry something with you to write in.

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

5. Don't give up.

6. Get energized.

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

8. Make your characters "true".

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