Emotions…even in the REAL

[found on freelancewriting.com; by Catherine Franz]

“You have completed the draft of an article, but it seems flat and lifeless, even to you. It needs to have the spark that ignites that all important emotional connection to your readers but you are at a loss as to how to spruce it up. Breathing life into a nonfiction article is tough, especially if it doesn’t include a character or an emotional storyline….

…Why would you even want to add emotion to a nonfiction article? Adding emotion to your writing, any type of writing, fuels the reader’s attention, helps them connect with the action. It gives the reader an experience. Experience is why people go to the movies or watch TV. More importantly, it keeps them reading.”

To learn the steps on how to emotionally charge your writing, with tips from Catherine Franz, click HERE.

[found on http://www.freelancewriting.com/articles/article-write-nonfiction-with-passion.php]

Where’s the Plot?

[found on theunnovelist.com]

“Plot is a braid of three strands:

1. Character Emotional Development

      • The plot exists so the character can discover for himself (and in the process reveal to the reader) what he, the character, is really like: plot forces the character to choose and act.  By making choices and reaping their consequences, the character transforms from a static construct to an animate being.

2. Dramatic Action

      • Action is driven by what the characters want and the conflict that stands in their way.

Thematic Significance

      • Tie the character’s private passion to a bigger, more universal public subject, and the thematic plot line is launched.”

For more great tips and insights on writing structure from The Unnovelist, click HERE.

[found on http://theunnovelist.com/plot/plot.html]

Don’t Stay Mediocre, Success Is Waiting

[found on copyblogger.com by Jonathan Morrow]

5 Crippling Beliefs That Keep Writers Penniless and Mired in Mediocrity

Is it just me, or is the whole starving artist thing highly overrated?

Yes, there’s a certain romanticism to being a penniless vagabond, sacrificing material goods in the selfless pursuit of art.

Yes, it’s fun to fantasize about everyone suddenly realizing you’re a genius after you’re dead and auctioning your once-soiled toilet for nearly $20,000.

Yes, it’s hip to take a stand against evil capitalists and proselytize about constructing digital economies based on currencies of cool.

But eventually, it gets old.

I know, because I’ve been there. In college, I was the epitome of the starving artist, winning poetry competitions and acing English classes with ease and then bumming gas money to get home, but eventually I realized three things …

      • No matter how good your poetry is, girls think you’re lame when you take them out for a romantic dinner at Taco Bell
      • After sleeping in your car for a week, you don’t feel like writing a damn thing
      • Pretty much the only job available to English majors is to become an English teacher, and they’re some of the most underpaid, under-appreciated people on earth

Sooner or later, you begin to reconsider. I mean, no, you don’t have to be rich and famous, but would having your own apartment and being able to afford food be so bad? Hell, it might even help your writing.

So, you embark on your quest to make some money.

You try to write some articles for magazines and newspapers. You hire yourself out as a freelance copywriter (even though you probably have no idea what copywriting is). You start a blog and wait for the world to beat a path to your door.

And if you’re lucky, you survive. No, you’re not sitting by the beach drinking margaritas, but you have food and a bed and a car, and people don’t worry about catching weird diseases when they’re standing beside you in the elevator. It’s nice, but you still haven’t “made it,” and you wonder why.

In my experience?

It’s because you don’t have your mind right. You have these nasty little demons sitting on your shoulder, feeding you lies about the relationship between success and art. You probably picked up some of these ideas from your parents, others from your teachers, and still others from fellow writers and artists.

And if you let them, they’ll cripple you. You’ll go through your whole life knowing you’re talented but never quite making it and forever wondering why.

We can’t let that happen.

Below, you’ll find some of the most common beliefs that hold writers back. Take a look, and see if any of them look familiar:

Crippling Belief #1: It’s all about you

The most heinous lie to ever infect the mind of a writer is the belief that your work is all about you.

You believe your writing is a form of self-expression, an extension of your mind, a little piece of your soul imbued into the page. To write well, you just need to beauthentic, and if the world doesn’t like it, the world can go to hell.

Provocative, right? And like all the best lies, it has a grain of truth to it.

Yes, authenticity matters, but only to the extent people enjoy what you do. You’ll never find me auditioning for American Idol because, the fact is, I couldn’t carry a note to save my life. Yes, my voice is authentic, but it’s authentically bad, and that means I’ll never be a singer.

Writing works the same way. To be successful, stop worrying about who you are and start thinking about what your audience wants.

What do they like? How is it done? Only after you’ve answered those two questions are you ready to ask the third one: is it right for you?

I can’t overstress how important the order is. Them first, you second, never the other way around.

Crippling Belief #2: Building a following takes time

The last bastion of hope for any struggling writer is that building a following takes time.

Sure, life sucks right now, but if you’ll just hang in there, things will snowball, and everything will be all right.

It seems reasonable. After all, no one gets famous overnight, right? Everywhere you look, there are stories of successful people persisting when there was no hope, trudging forward one weary step at a time, unwilling to quit, clinging fiercely to their dreams, manifesting success through sheer power of will.

It’s inspiring… but it’s also deceptive.

Yes, building a following often takes time, but it’s not because people are slow on the uptake, incapable of seeing your brilliance until you’ve been around for a few years.

It’s because, when you’re a newbie, you do everything wrong, and most of us get knocked around for a few years until we figure out how to do it right.

In other words, you’re not waiting on the world. The world is waiting on you.

Yes, persistence is important. Yes, learning takes time. Yes, it’ll probably be slow and painful. But the sooner you learn, the sooner it will be over. So get busy.

Crippling Belief #3: You know what you’re doing

So, let me guess:

You’ve always been a pretty good writer, right? No, you haven’t won a Pulitzer or anything, but your teachers fawned over you in school, and your friends and family are awestruck by your skill with words.

Maybe you’ve even written for a magazine or newspaper a time or two and gotten some real credentials to put on your resume.

You believe all of that makes you different. When you start a blog or write a press release or hang up your shingle as a freelance writer, you believe things will be easier for you than all of the other bumbling writers out there. Unlike them, youknow what you’re doing.

Heh.

It never ceases to astonish me how many writers believe this. They honestly think being able to spell, write a grammatical sentence, and make a few aunties and uncles smile is enough to make them a good writer.

It isn’t. The difference between writing for free and writing to become recognized as a worldwide authority is like the difference between taking a jog after work and running an Olympic marathon. Like running events, each type of writing is also quite different, and even a legend might need years of training to switch.

The bottom line: if you want to make a career out of writing, you have to be serious about it.

You’ll need to commit years of your life to mastering it, and even then, you’ll have barely caught a glimpse of everything there is to know.

Also, if you’re not willing to make that commitment, that’s fine. Just hire someone who is. It’s far faster and much, much less painful.

Crippling Belief #4: Writing can only be a labor of love

It’s about the art. It’s about the fans. It’s about the ideas themselves.

If you start trying to squeeze money out of it, you’ll just pervert it, commercialize it, transform it into a cold and hollow substitution for what it could have been. Right?

Well, yes and no. Once again, this one is dangerous precisely because it’s partly true.

Yes, all the best writers love what they do. The thing that separates Stephen King from a lot of other horror writers isn’t the gore or the suspense or the characters. It’s the joy. When he’s chopping off heads or destroying the world, he doesn’t just tell you about it. He revels in it.

Also, Stephen King is far from broke. I think he made something like $50 million last year.

Granted, we can’t all be Stephen King, but one of the greatest fallacies in writing is that art and money are mutually exclusive. If you love something, you can’t make money from it, or if you want to make money, you can’t love the work.

That’s just silly. You can have both. In fact, I would even say you need both, or you’ll never have the staying power to become truly great at what you do.

Crippling Belief #5: You’re a writer (nothing more)

Many writers take enormous pride in what they do, and rightfully so.

We use nothing more than little splotches of ink to communicate with people across the globe.

We speak the unspeakable. We snatch ephemeral ideas from the air and bring them to life on the page.

It’s delightful. Amazing. Humbling.

But if you think it’s your only responsibility, you are horribly mistaken.

The best way I know to explain it is, imagine a mother carrying a child for nine months, religiously taking care of her body, doing everything a good mother does, and then the day she delivers it, she leaves the hospital and sets it on the side of the road. “Goodbye, sweet thing,” she says. “It was a pleasure, but now I have other things to do,” and then she walks away.

It’s a horrifying thought, right?

Yet, as writers, it’s something we do every day. We finish working on a piece, publish it, and then prop our feet up, praising ourselves for a job well done. “Finally, I’m finished,” we think. “On to the next project.” And then we watch from afar as it struggles to gain attention, weakens, and finally dies.

It’s a morbid metaphor, I know, but this point is absolutely essential for you to understand:

If you want to be successful, you can’t be a writer and nothing more.

You also have to be a constant caretaker, a shameless promoter, a fearless champion. You have to fight for your ideas the way a mother fights for her children.

Your job isn’t over the day you publish. On the contrary, it’s just beginning. More than likely, you’ll spend weeks, months, and years fighting to get your words the attention they deserve, and it’ll be the most tiring, nerve-racking, and yet unquestionably rewarding experience of your life.

Don’t neglect that responsibility. Don’t try to outsource it to someone else. Don’t rob yourself of the experience.

The truth is, the joy of writing isn’t the writing itself. It’s seeing your ideas spread. It’s seeing them touch other people. It’s seeing them take root within the minds of those people, where they continue to grow into something more wonderful than you could have ever imagined.

Do you want that?

If you do, then be more than just a writer. The world already has enough of those.

What we need are more warriors. What we need are more heretics. What we need are wordsmiths with the courage to change the world.

Words aren’t just words, you see. They’re the medium through which writers accomplish change.

Great writers don’t just inform you. They don’t just entertain you. They don’t justpersuade you. They change you, leaving you a slightly different person than you were before you read their work.

If you ask me, change should be the standard we hold ourselves to, not merely scribbling words down upon the page.

Then again, what do I know?

I’m just a writer. Nothing more.”

For more excellent posts from Jonathan Morrow, click HERE.

[found on http://www.copyblogger.com/crippling-writing-beliefs]

Secret & Silent—Inspiration

“In fiction, I exercise my nosiness. I am as curious as my cats, and indeed that has led to trouble often enough and used up several of my nine lives. I am an avid listener. I am fascinated by other people’s lives, the choices they make and how that works out through time, what they have done and left undone, what they tell me and what they keep secret and silent, what they lie about and what they confess, what they are proud of and what shames them, what they hope for and what they fear. The source of my fiction is the desire to understand people and their choices through time.” 

― Marge Piercy, Braided Lives

Featured Writing Addict: H. Squires

H. Squires

photo-1

Heather Squires’ life calling to be an author began in 1989 in Phoenix, Arizona. As an editorial writer on staff at the Utopian Newspaper, she decided to seek further review and publishing. The first project to be completed outside of the journaling world was To Desecrate Man, an action novel; completed in 2005, it became over shadowed by the second project: Rogue, a young adult fiction-adventure novel.

Upon completion of Rogue in 2009, Squires’ place in the young adult fiction world became clear. The Sphere of Archimedes began to take shape, and was finished in 2011. Currently working on the sequel, The Omphalos of Delphi, she continues to create anticipation for the future of young adult fiction.

What is H. Squires’s Genre?

Fiction: Young Adult, Science Fiction

What is  H. Squires’s Inspiration?

“As an observer, I watch ominous clouds collide in the blue firmament. A black-hooded, male sparrow puffs out his chest, and struts to impress a potential mate. While skating over a broad leaf, a snail’s eyes –perched on tall stalks, nods from the slightest breeze.

The daily creations displayed before our eyes, inspires me to write. I cannot go to my grave without trying to verbally describe God’s handiwork—and, if I can tell a story within the narrative, then [I hope] I do Him justice.”

What is H. Squires’s book about?

The Sphere of Archimedes

book cover

“Professor Donovan Spiegler, and nine-year-old Oliver Abernathy have no warning that their seemingly routine lives will free-fall into danger and adventure in this sci-fi thriller: THE SPHERE OF ARCHIMEDES.

Oliver, a chubby, freckle-faced boy, is surviving a mundane school-life as the helpless victim of a bully, Dylan Parker.

The Professor, and his assistant, Cedrick Wilhelm, are researching a mysterious metallic orb when Cedrick goes missing, and so does the orb.

On a trip to the Grand Canyon with his family, Oliver discovers a metallic sphere that has special powers. His boyish curiosity builds as he tests the abilities and hazards the orb possesses. He learns the alarming side of the orb when Dylan Parker, the bully, opens it, and is vaporized—or so Oliver believes.

 Nsphere

A group of threatening men turn up at Professor Spiegler’s class; at knife point, they demand he relinquish the orb, and show them how to release its powers. In an attempt to flee, the Professor inadvertently leads the mobsters straight to Oliver Abernathy and his family.

In the thrilling adventure that follows, the characters discover the need to work together in order to stay alive. The Professor and the Abernathys encounter other worlds, and meet deadly enemies. Their survival is hinged on solving THE SPHERE OF ARCHIMEDES.”


Too Weak To Write? Take Two Adverbs, and Don’t Call Me In The Morning

[found on darcknyt.deviantart.com]

“The real question to ask isn’t whether Mrs. Swingingjowls was right or wrong in teaching you to modify your sentences with adverbs.  The question is, why are you modifying your verbs with adverbs?

This is an easy one to answer, when you think about it:

Because your verbs are weak.

Mark Twain once said, “Adverbs are the tool of the lazy writer.”  Amen, Mark.

See, what’s going on is, you’re using a word that doesn’t really convey the sense, the feeling, the mood or whatever, you’re hoping to get across to your reader.  “Walk” isn’t a very exciting word, and it doesn’t get across the antsy feeling you’re trying to portray in your description, so you make it “walk quickly” or “quickly walked”.  You want your reader to see the force, the power in your characters’ argument, so instead of saying “they shouted across the table” you say “they shouted angrily and vehemently across the table.”

The problem is, the verbs you’ve chosen aren’t doing the job you wanted them to do in the first place.  You don’t want your character to walk, you want your character to hasten, hurry, quick-step.  You don’t want your characters shouting, you want them spitting words through clenched teeth, veins throbbing on reddened necks, molars locked and spittle misting between them.

The reason you’re reaching for adverbs to tell the story is because the verbs you’ve chosen are too weak to do it for you.  The adverb isn’t the solution, however.  Strengthening your writing is.

Think about this: If the verbs you’re using to describe the action in your story are weak and flimsy, the action description may be weak and flimsy too.

You wouldn’t be writing something with the intent of being flimsy or weak, would you?  The reason you’re grabbing adverbs in the first place is because of discontent with what’s being said without them, right?

Why bother with modifiers for words that aren’t cutting it in the first place?  The real crux of the problem is finding the right actions and descriptions for those actions, so that modifiers — adverbs AND adjectives — will be needed with rare and prudent infrequency.

When you’re writing adult fiction, the need to limit — if not eliminate — adverbs altogether becomes pretty obvious.  What adult wants to read a grade school type of book?

No, adults want to be pulled into the story, and be engaged by it.  The use of adverbs won’t get the job done, and loses the reader early on.

Show, Don’t Tell — Adverbs are NOT Good Description

With the evil adverb dragging your writing down, it’s now safe to say that using adverbs isn’t a way to make a lousy description good.  It’s a lazy way to make a weak description obvious.

What adverbs do, in a nutshell, is tell the reader what’s going on in the story.  That’s NOT what you want to do.

“But — I thought I was TELLING a story here?”

No.  You’re not.  If you’re a serious writer, you’re not “telling” a story, you’re SHOWING a story.

Don’t be lazy.  Be specific.  Use specific nouns and verbs to do the bulk of the work in your writing.  By letting good, descriptive words do the heavy lifting, the occasional adjective and adverb aren’t the problematic, amateur-flagging beacons common in weak writing.”

For more great tips from DarcKnyt, click HERE.

[found on http://darcknyt.deviantart.com/journal/The-Use-of-Adverbs-in-Fiction-Writing-214175181]