Killing Your Characters

[found on writersrelief.com; by Writers Relief Staff]

“If you’re considering killing off your main character, keep the following tips in mind:

  1. Be somewhat realistic. It may be hard to swallow if your main character survives what no one should be able to. When a jumbo jet crashes in the desert but your hero, Jack, walks away unscathed thanks to his skill with a nail file and a soda can, you can practically hear your readers groan.
  2. Plot problems. Don’t kill the protagonist if you are having problems with the storyline and simply don’t know what to do next: The heroine finds herself between an enraged grizzly and a cliff—if you can’t figure out a plausible way to extricate her, this shouldn’t be the only reason to kill her off.
  3. Beware morality statements. Perhaps your main character’s death is a natural consequence of his fatal flaw. He is a functioning alcoholic and sometimes drinks and drives. Be very careful not to make this into a morality statement by waving it over your readers’ heads: This is what happens to drunk drivers! You want the story to be powerful, not your personal statement on drunk driving.
  4. Don’t kill the MC off in a trivial or anticlimactic way. In other words, unless it’s tied to the theme or plot in some significant way, Hattie Heroine should not die from an infected paper cut. If we’ve invested in her character, we need some tension building up to her death.
  5. Avoid resurrections. Please don’t be tempted to miraculously bring a main character back to life unless it’s an integral part of your plot or theme (like a medical thriller centered around a miraculous new drug that reverses death). What? It was actually Hattie Heroine’s twin sister who died of infection? Like an ending where the MC wakes up and realizes everything was just a dream, a miraculous resurrection can be a little cheesy—or an easy out.”
[found on http://writersrelief.com/blog/2013/11/main-characters-how-to-kill-your-protagonist-without-killing-your-fanbase]

A Good Editor

“A good editor will not just point out errors; she explains them, providing you with an education to enable you to perform a stronger rewrite. For instance, if your manuscript includes point-of-view violations—a major reason for fiction rejection—she will offer a thorough explanation of the concept and provide easy-to-understand examples. A good editor will encourage you and compliment you on your strengths, but she will not hold back in showing you where you need improvement or are making repeated mistakes. She does not expect you to know all the book publishing rules for copyediting—that’s her job. But she does try to help you understand some basic underlying principles that you might need to learn in order to be a better writer. A good editor knows your book is your “baby” and that you have poured many hours into writing it, but her goal is to help you make that book the best it can be, and sometimes that requires you, the author, to make drastic changes. In other words, a good editor is “on your side” and wants to help, but she is mostly concerned with getting your book in the best shape possible.”

— C. S. Lakin / critiquemymanuscript.com

Writer’s Block Begone

Here are some ideas to fight writer’s block. Tell us if you have any to add!

David Alm on writer’s block:

“Writer’s block is as much a part of being a writer as banging your head against the wall in frustration when publisher’s don’t return your calls. I jest, but seriously — it doesn’t matter how successful you are or what kind of writing you do; if you’re a writer, you’ve been stuck.

Not anymore, if the makers of Write or Die have anything to say about it. The app, now available for $9.99, aims to keep you on task by threatening you with some pretty dire consequences if you stop churning out copy. Set it to “kamikaze” mode, and it will begin deleting words you’ve already written after 45 seconds of no activity.”

—David Alm / Contrary Blog

13 authors views on Writer’s Block from FlavorWire:

    • “Suggestions? Put it aside for a few days, or longer, do other things, try not to think about it. Then sit down and read it (printouts are best I find, but that’s just me) as if you’ve never seen it before. Start at the beginning. Scribble on the manuscript as you go if you see anything you want to change. And often, when you get to the end you’ll be both enthusiastic about it and know what the next few words are. And you do it all one word at a time.” – Neil Gaiman

Click to view the other 12.

Strategies for overcoming writer’s block:

“Taking notes

Jot down ideas and phrases as they occur to you. Free yourself from paragraphs and sentences for the moment–use flow charts, arrows, boxes, outlines, even pictures. Right now, you are worried about getting things down before you forget them.

Freewriting/Brainstorming

When you’re not just blocked, when you’re stonewalled, try freewriting. Sit down for ten minutes and write down everything you can think of about your topic. The object is to write without stopping for the whole ten minutes. If you can’t think of anything to say, write “blah, blah, blah” over and over. If other things occur to you as you write, go ahead and record them, even if they are not directly related to your topic. These distractions may be part of what is keeping you blocked.

Freewriting is good for uncovering ideas–it’s a good way to nudge “inspiration.” But the main purpose of freewriting is to get you moving! Most of what you write in those ten minutes will go in the recycling bin, but you’ll be warmed up and your serious writing should go more smoothly.

Brainstorming resembles freewriting but is more goal-directed. You start not only with a topic, say PROFS, but also with a goal: What do new users need to know about this system? Then allow yourself to jot down ideas for a set amount of time without censoring any possibilities and without striving for perfect prose. When the “storm” has passed, you can rearrange ideas, put thoughts into complete sentences, edit, and polish.

Piecework

Sometimes, starting at the beginning induces Perfect Draft Syndrome. It may be easier to get started if you approach the task sideways. If you’ve got a plan for the article or manual, choose a section from the middle or a point you know well and start there. Then do another section. After you’ve gained some confidence, you can work on the opening and smooth out the transitions.

What I Really Mean Is (WIRMI)

When you’re stuck in a quagmire trying to find the perfect phrase, switch to What I Really Mean Is and just say it the way you think it. Once you know what you mean, it is easier to refine the phrasing.

Satisficing (satisfy + suffice)

You “satisfice” when you take the first reasonable solution instead of searching endlessly for just the right word or sentence. If you’re unhappy with the choice, you can bracket it and promise yourself you’ll fix it later.”

—Writer’s Tips from css.illinois.edu

Audience Builder 101

[found on writerunboxed.com; by Dan Blank]

“Far too many writers build an audience of the WRONG people. As a writer, you craft a work that is meaningful to you, and you wonder how you will connect it to the world. So you begin engaging with people online and off, telling them about your writing.

And guess what? Guess who is MOST interested in this journey you are on? Readers? Nope. Oftentimes, it is other writers.

So we do what feels validating and welcoming: we join amazing communities such as WriterUnboxed.com. We forge relationships, we grow our platforms with people who want you to succeed as a writer.

But therein lies the problem.

These good people – these other writers, yes they may buy your book. They may read it too. They MIGHT even review it on Amazon & Goodreads. And this is good.

But what I worry about is that when you focus only on engaging other writers, you are not learning how to engage readers. Without the shared interest in becoming a writer, without tapping into that sense of identity and goals, you are not developing that keen instinct of who would love your book and how to get them interested.

Now, obviously, there is ENORMOUS value in engaging with other writers, andespecially to do so on WriterUnboxed.com. (Can you tell I am trying to get back into the good graces of Kathleen & Therese?)

Just this week, a writer I am working with heard from two other successful authors who shared wonderful insight into what has worked for them in engaging with readers – what online platforms have worked for them, and the value of certain types of in-person events.

Let’s explore why it is super helpful to engage with other writers:

    • Writers are the best kind of people. (okay, that one was easy)
    • Help you improve the craft of writing.
    • Glean wisdom from their experiences.
    • Build a network of colleagues.
    • Validate your own identity as a writer.
    • Open doors to agents, publishers, media, and other good folks that can help you get published and in front of readers.
    • Motivation & inspiration.
    • Understand how the world of publishing is changing, and give you a roadmap to navigate it.
    • Set proper expectations.
    • Vent. (then vent some more)

The list goes on. I will leave “fashion tips” and “recipes” off of the list for the sake of space.

So what is bad about any of this? Nothing. The issue I see is that sometimes writers stop here. They feel a sense of community with writers, they experience all the benefits listed above, so they go no further.

They never develop the capability of understanding who their ideal readers are, how to engage them, or the habits to do so both online and off.

As you develop your platform as a writer, I see an extraordinary amount of value in working through the more difficult task of engaging your readers and those who have access to them, such as librarians, parents, teachers, booksellers, etc.

In other words: YES, engage with other writers. But don’t stop there.

Every single week, learn more about who your readers may be. Engage with them in tiny ways online. And off. Learn what it is about your writing that cuts to the heart of why your ideal audience readers. Discover what it is about one of your stories or books that jumped out at people.

How do you begin engaging with readers? Just a few ideas:

    • Read. Read books similar to yours, if possible. Engage as a fan would. Leave reviews online, recommend books, consider who else is doing the same.
    • Understand what other books are like yours, especially those published in the past 5 years. Where are they shelved in bookstores, how are they displayed, what comes up in “People who who bought this also bought…” in Amazon?
    • What is the language that other readers used again and again in reviews on Amazon, Goodreads, LibraryThing, and other sites?
    • Who are these readers – specifically? See their Goodreads profiles, understand what else they read.
    • Talk to readers. On social channels, follow them, comment on their updates, and learn about them. Engage as a fan of similar work, not an author trying to promote your own books.
    • Develop a group of beta readers.
    • Everywhere you go, ask the person standing next to you: “what do you like to read?” Then ask why.
    • Join book clubs, attend events at bookstores and libraries – do anything possible to chat with other readers about why they read. Study the expressions on their face, the cadence of their voice as they talk about reading.
    • Talk more about other people’s books than your own.
    • Create profiles of your ideal readers. Create lists of where you can find them online and off. Go there. Often.
    • Craft messaging that gets readers interested in your writing. Test this again and again, both in person, and in digital channels. Revise constantly.

When I work with writers, the big questions they are often looking to answer are: who is my readership, where can I find them, and how can I engage with them in a meaningful way? Of course, the outcome they hope for is a larger audience for their work, and greater book sales.

Critical to this is beginning to understand your readers as early as you can in this process and developing habits of doing so.

I hope, dear writer, I have not offended in this post. I strongly believe in the purpose of this site, and completely understand that writers are readers too. But there is a distinction between those who obsess about writing & publishing, and those who “merely” read, read, read, and ideally, will one day read YOUR book.”

For more great tips from WriterUnboxed, click here.

[found on http://writerunboxed.com/2013/06/28/are-you-building-an-audience-of-writers-not-readers]

How Do I Publish My Book?

Upon request, here is a favorite re-post:

Congratulations! You have your book finished—and now you want to publish it. What do you do? How many options are there?

Firstly, what is your goal? Are you planning on sharing your book with your mom and  your great aunt Molly? Then you want to use Print On Demand. If you have a larger audience in mind, but don’t have the time—nor the patience—to wait for Traditional Publishing, you can always try Self Publishing; it is a road where you are judge, advocate and jury…so be prepared. If none of these fit your style, you can embrace the transformers of the publishing world: Hybrid Publishing. 

What is Print On Demand?

  • POD is an option to upload your manuscript AS IS to a site, and they will convert it to an eBook, as well as print a limited number of books for you.
  • This does not allow for formatting, editing, or reprinting without uploading to the site again.
  • It is an excellent mode for self-publishing comic books, instruction manuals, or family albums
  • Example of a POD site
    • CreateSpace
    • Tell CreateSpace you heard about them from editingaddict.com!

What is Traditional Publishing?

  • Just like an actor trying to land a role, traditional publishing requires authors to work through agents.
  • You have to find the agent that is looking for:
    • Your genre
    • Your concept
    • Your audience
    • Your style
    • Your chapter length
    • Your book
  • Agents reject authors daily, no matter how wonderful the book is—because it is not what THEY were looking for…
    • Rejected authors you may recognize (from literaryrejections.com):
      • Dr. Suess—“Too different from other juveniles on the market to warrant its selling.”
      • Zane Grey—”You have no business being a writer and should give up.”
      • Jack Canfield & Mark Victor Hansen authors of Chicken Soup for the Soul—140 rejections stating “Anthologies don’t sell.”
      • The Diary of Anne Frank—“The girl doesn’t, it seems to me, have a special perception or feeling which would lift that book above the ‘curiosity’ level.”
  • To find an agent, you must write a query letter
    • Each agent requires DIFFERENT information per query letter
      • Some want the first five chapters, some want no chapters…
      • Some want every chapter summarized, while others only want the entire book summarized
    • Research which agent requires what, and do not mix up your submissions
    • Never give up on your book, but it’s okay to give up on a certain agent
  • You FIND an agent
    • They talk to the big publishing companies, and know what they are looking for
    • They find you a publisher
      • You sign a contract
      • Your book is published
      • You retain NO rights to your work, or future books in the series
      • Movie rights are transferred to the publisher
      • Your name becomes well-known…or NOT.
      • The publisher has the right not to sell, or even promote your book—however, you have already signed all rights away to it.
      • The publisher does do the dirty work for you, they advertise, they publicize, they edit, they format, they print, they sell…they also keep.
  • A well-known author has more rights with a publisher than a new author. This is an important point to remember when entering the world of publishing. If you already have a following of readers when you reach a traditional publisher, your ability to maintain rights to your work vastly improve—because you have already proven your work is a success, and people want it.
  • Excellent article on traditional publishing: nathanbransford.com
    • “Now, chances are at this point you are going to be in a psychological state where you are ready to sign over a body part just to get an agent, and you will be predisposed to say “Yes, for crap’s sake, yes!!”. But take a step back, take your time, make sure you’re very comfortable with the agent before you enter into one of the most important business relationships you will have in your life. You and your agent are going to have to seriously trust one another, so ask questions, don’t be shy, and make sure you’re ready.” – Nathan Bransford

What is Self-Publishing?

  • The Tale of Peter Rabbit by Beatrix Potter was rejected so many times she decided to self-publish 250 copies. It has now sold 45 million.
  • With Self-Publishing, no agent is required, but you are responsible for EVERYTHING; you either must be skilled enough to accomplish all the parts necessary, or you are your own contractor, and need to find all the subcontractors to do your work.
    • Your TO DO list expands daily:
      • Editing
      • Formatting
        • Find a graphic design crew to format book to print, as well as create a workable cover design;
        • Pay graphic design group, as well as pay for the cover picture chosen
      • Printing
        • Find a POD service like Xulon Press, (and tell them you found them on editing addict.com)
        • Pay for each copy of your book to print
      • Advertising
        • Build a website
        • Build Social Media
        • Promote book
        • Sell book
        • Reach bookstores to ask to sell in-store
        • Order & reprint books
    • YOU retain all rights to your book, future books, and movie rights

What is Hybrid Publishing?

  • Finally, a merging between Traditional Publishing and Self Publishing has taken place—bringing the best of both worlds into a a format called the Hybrid Publishing option
    • No agent needed
    • Hire a Hybrid Publishing team
      • Team is pre-made—you don’t have to find an editor, a format team, or a PR group…the team is ready, willing, and very able. They will stay by your side through the entire process!
  • What Hybrid Publishing provides:
    • Editing
    • Formatting
    • Book Cover design
    • Team to walk alongside you through the journey
    • Advertising
    • Web Site
    • Social Media platform
    • Book promotion
    • Author promotion
  • You, as the author, maintain your rights:
    • You keep all rights to your book, and future books
    • You keep movie rights
    • You are not limited by an agent’s likes/dislikes
    • If you are picked up by a Traditional Publisher, you already have a base of readership, and you have a voice in your options/choices for future
  • Example of Hybrid Publisher:

If you have any questions, let Editing Addict know!