Unexpected advice to overcome what holds you back

I'm now in the UK for a few weeks, so I have some special treats for you--more fabulous guest posts! Today's guest is romance author Beth Fred. Take it away, Beth....

Find what you're bad at.

I bet that's a piece of writing advice you've never heard before, and I mean it. What is your biggest weakness? You need to know because it could be the one thing holding you back. I really really loved one of my first manuscripts, and the feedback was so positive. My CPs and betas swore they loved it too, and while I got rejection after overwhelming rejection they usually complimented the voice and the concept. Close. But no cigar. I knew something had to change, but I didn't know what. So when I started really listening to hidden criticism in the praise it came down to this: I had a convoluted plot. That made sense because I wasn't a plotter. But somehow there was still a story there, so I didn't understand how it could have a beginning, middle, and end, and still somehow not have a strong enough plot.

I knew this though. I want to be a bestseller. And I'll do what it takes to get there. More than that, I want to be a good writer, so if I find a chance to improve I'm going to jump on it. In the past, plotting for me hadn't worked. The words felt forced. I'm the kind of person that has a hard time deviating from something set in writing. And if it had a beginning, middle, and end anyhow, what was the point? Not knowing what else to do, I started breaking books into the seven points of the three-act structure. After a few weeks of doing this, I wrote The Fate of A Marlowe Girl. Two full requests of two queries, and it was on a second-round revise and resubmit when I self published it.

The next full-length project I wrote was A Missing Peace which will be published by Escape, an imprint of Harlequin, wordwide on 9/1. I wrote out my plot points for this one before I ever started. And I managed to write most of this book (all but 19 pages) in the six weeks after my baby and I came home from the hospital. I'm not telling you this for you to learn the three-act structure (although, I recommend it). But because I was the girl who couldn't plot. I LEARNED!!! And while I wish I was one of those talented writers who just knew how to arrange the book and the words to tell it in, the thing I love about this is that I can constantly improve. When I'm bad at something, it can change. And you can too!

About the Author
Meet Beth Fred! That's me! I'm a full time ELF keeper and part time writer/blogger/writing instructor. I'm represented by Kathleen Rushall of Marsal Lyons Literary Agency. I like my tea hot, my romance sweet, and my guys chivalrous. Real men hold open doors, refer to you as ma'am, make promises they keep, and aren't afraid to profess their undying love. It's not breakfast if there aren't carbs (at least, not in the South). Fajitas, carnitas, and churros are just few of my favorite things. Bet you can't guess where I'm from ;) Wanna know more about me? You can find that here:
Email me: bethfred08(at)gmail.com
Blogger: http://bethfred.blogspot.com/
Tweet me: bethfred08
FB Author Page: https://www.facebook.com/bethfred08

Are you actively seeking to know your weaknesses? What helped you identify them? How are you working to overcome them?

Turning a Short Story into Verse

by Jessica Bell

The first word of advice I was given about writing stories in verse was that you can’t just break a short story into lines and call it “verse.”

This is true.

It’s also not.

Because ultimately, that’s what I did with Muted.

Muted was a normal short story to begin with. It was first published in an anthology called From Stage Door Shadows. But I wanted to publish it as a stand-alone piece, too. Mainly because I loved the story and thought it deserved a piece of the limelight.

I did want it to be a little more innovative though, as I’m the type of writer who likes to push boundaries and not conform. The story itself is quite unique, so I wanted to highlight this by making the format unique too. Also, the subject matter is horrific. And I didn’t want it to just be “a horrific story.” I wanted it to be beautiful, too. So turning it into verse created a great juxtaposition.

By writing Muted in verse, I was able to accent the emotion via clever line breaks, a bit of internal rhyme, alliteration, onomatopoeia and unusual formatting. Things that would normally bog a traditional short story down, if done in excess. But in verse? It works. And I believe gives the story an even stronger emotional pull.

But I didn’t just insert line breaks into the prose. After doing this, I had to reevaluate the story as a whole new piece of work. I tweaked a lot of lines to create double meanings in the line breaks, added new elements to the story, amped up the emotion with the poetic devices I mentioned above, and made sure the rhythm of each line flowed naturally, steadily, and rolled off the tongue.

Have you ever written a short story in verse? How did you go about it?

About Muted

What if it were illegal to wear clothes?

What if it were the law to wear a temperature-controlled body suit made of fetus membrane ... every day?

What if you were a singer, and it was illegal to sing?

What if you sang anyway, and got detained by a LEO, and punished by having your vocal chords violently slashed, and eardrums perforated?

What if multiple offenders were killed for their skin?

Would you commit suicide? Drown yourself in the river?

Concetta would.

But something stops her in her tracks ...

Purchase muted: a short story in verse
Amazon US | Amazon UK | Amazon Ca 

About Jessica

The Australian-native contemporary fiction author and poet, Jessica Bell, also makes a living as an editor and writer for global ELT publishers (English Language Teaching), such as Pearson Education, HarperCollins, Macmillan Education, Education First and Cengage Learning.

She is the co-publishing editor of Vine Leaves Literary Journal, and the director of the Homeric Writers’ Retreat & Workshop on the Greek island of Ithaca.

Connect with Jessica online:
website | retreat & workshop | blog | Vine Leaves Journal | Facebook | Twitter

CLICK HERE  to subscribe to Jessica’s newsletter. Every subscriber will receive The Hum of Sin Against Skin for free, and be the first to know about new releases and special subscriber giveaways.

Inspirations...and a giveaway

I'm the featured guest today for Tina's Book Reviews's Saturday Spotlight. I talk about how the ideas of grief, ghosts and God came together in my novel. There's also an Amazon giftcard giveaway going on through July 1. Please swing on by to say hello!

Have any of your stories taken years to gel? Do you revisit trunked projects?

Learning from the Negative

by PK Hrezo

Thanks so much to Laurel for letting me take over her blog today! If you’re a reader, you probably have your favorite book reviewer blogs, and if you’re a writer, I’m sure you frequent all the great writing blogs for craft tips and techniques, as well as publishing insight. Since most writers are readers, you probably have a combination of the two types, or maybe even blog about them both like I do.

But today I want to single out the book reviewer blogs, and how you can improve your own craft by reading their every post. I know there are a lot out there, and I try to visit as many as I can, but one blog in particular holds the top rank for my visits. If you’re a writer who doesn’t visit it frequently, you should.

Steph Su Reads is one of those voracious readers who has such a keen reader’s eye, and is so knowledgeable, that she’s hard to impress (one of the pitfalls of being exposed to so much great work).What I like best is the fact she’s not a writer—she simply reads books for what they are without that writer critique eye, but with a seasoned reader’s appreciation for good literature. She reads mostly YA, but it doesn’t matter if you don’t write YA, you cans still gain a benefit from reading her reviews.

My favorite posts of hers are the negative reviews. She’s never crass or distasteful, but she breaks down exactly what’s not working. The other day she reviewed a book she didn’t love, and as usual, I devoured it for everything it was worth.

As I do with all her negative reviews, I copied down what it was about the story that DIDN’T work, into my handy dandy word doc for writerly things to remember, entitled, "The Usual Suspects." These are words of wisdom I’ve copied down from various writers, agents, editors, etc. Things I need to check for whenever I think my manuscript is ready. By reading all Steph’s negative reviews and having what didn’t work in the back of my mind, it helps me breathe real life into my story and characters while tweaking my story.

Here’s what Steph Su said recently that stood out for me:

“The fact is that the author did not succeed in making her characters come alive with personality quirks and turns of phrase and all those things that make a person unique.”

Now most writers have heard or read something to this effect before, but paired with the complete review of why that particular story didn’t reach out and pull her in, those specific words sunk into my skin. I thought, “Am I doing this with my story? Have I made my characters come alive?”

Steph’s review of this book was not all negative. She goes into detail on what works and what doesn’t, which is why her reviews are so valuable, but the fact was, it was this sole neglect from the author that did not win Steph over. Therefore the story failed.

Ever since I started reading Steph’s blog, I decided that if I can one day earn a positive review from her, then I know I’ve become a good writer. That day remains to be seen, but it’s a goal worthy of obtaining.  When I think my story is ready to submit, I ask myself, “If Steph read this right now, what would her review be like?”

If you’re a writer who doesn’t already have a strong book reviewer you read regularly, find one, and make it a point to apply what they say to your own work. I highly recommend visiting Steph Su Reads and scrolling through her review posts—especially the negative ones. She’s never rude, but always honest. You know when she says something is good, it’s really good.

About PK Hrezo:  My last name is Czech in origin and pronounced with the H silent. I'm a wife of a firefighter, mom of two and international airline agent. In between all that, I write stuff. Fiction mostly. I'm repped by Jordy Albert of The Booker Albert Agency. I've always wanted to go on a cruise where everyone has to wear roller skates and listen to James Brown. You can stalk me at my blog (pk-hrezo.blogspot.com) or on Twitter (@pkhrezo).

How about you? Is there a book review blog you fancy? Share it in the comments and tell me why. Are you familiar with Steph Su Reads? What do you like or dislike? How have you learned from any book blogger’s negative or positive reviews? 

Hospitality month at Laurel's Leaves

Photo by hotblack, morguefile.com

I will be heading overseas in eleven days, which means I won't have tons of time to write posts. Instead, I'll be playing host to a bunch of wonderful writers throughout the month of June.

Wednesday, PK Hrezo will be coming by to share writing lessons learned from reading book review blogs. Later in the month, Jessica Bell will be talking about fiction in verse, Catherine Stein will discuss world building, and Beth Fred will share insights as well.

I have a few more slots open for guest appearances this month. If interested, leave a comment with contact information. All posts would need to be to me by Saturday (6/8).

Any special topics you'd love to share or hear about? 

Emotional arcs: the teaspoon problem

"Just because you've got the emotional range of a teaspoon doesn't mean we all have," said Hermione nastily, picking up her quill again.
--J.K. Rowling, Harry Potter and the Order of the Phoenix (chap 21)

That line almost always makes me laugh out loud. But once it also kicked me in the teeth.

I'd been trying to figure out what isn't quite working in a story opening, and this idea of "emotional range" was a wallop to the incisors.

I realized that by the second scene, my protagonist was already deeply entrenched in her dislike of another character. And yet, by story's end these two will reconcile. But how would my reader even want that to happen? I've given no space for the possibility that my protagonist desires reconciliation. By starting at the wrong place emotionally, I'd left no room to grow beyond simply intensifying that one emotion. In other words, I'd given her the emotional range of a teaspoon.

For conflict to work well in a story, it needs space to escalate over chapters. This might mean rethinking the emotional starting place for your protagonist. In my case, my protagonist needed to start out motivated to have a good relationship, only to have her desire thwarted. With that change, I had the emotional pulse needed to carry the story forward, and more potential for escalation. I'd added range for her emotions to follow a larger arc:

desire for closeness > confusion and worry > hurt > frustration > anger > rage > explosion > despair > surrender > renewal.

See how starting at anger would cut my emotional arc in half?

Anyone else ever tackle this problem in a manuscript? What worked for you to widen the emotional range and stretch out the arc?

Tips to jazz up your revision process

Photo by kakisky, morguefile.com

Many approach revision as if it were the literary equivalent of housecleaning. You sweep away redundancies, throw out excess adverbs and dialogue tags, donate some unneeded subplots to charity, polish lackluster sentences, and voila, a shiny manuscript.

Agents and editors are looking for more than tidiness, and so are readers. They all want a story that grabs them by the throat and won't let go. A story that sings.

It's easy to let the fear of making mistakes put your creative gift into a straight jacket, especially when revising. One of the ways to unleash the raw energy your manuscript needs is to take a lesson from the jazz world: improvisation. Once you've done the work of smoothing out the plot--equivalent to a musician laying out the key, tempo, and where important shifts will happen--it's time to go back and make lackluster sections sing. In Manuscript Makeover, Elizabeth Lyon calls this "riff-writing."

Riff-writing is a very focused kind of freewriting. Lyon says it "helps you expand your imagination around a particular problem or need--to lengthen a section, to add images, or to develop more characterization, for instance" (10).

Here's how to approach riffing:

1. Find a section (sentence, paragraph, scene) that feels thin, underdeveloped or emotionally flat.

2. Find a point of entry to explore further--the setting, an object, a character's feelings or memory or attitude.

3. Start scribbling--start at your entry point and follow the thoughts and feelings wherever they lead. As with rough drafting, don't edit or censor yourself. Let any and every idea flow. Push past your comfort level and really explore every dark cave, every windy mountaintop. Remember that in improvisation, "there are no wrong notes, you work them and they become part of the riff," Lyon says, quoting a musician friend (11).

4. Let the riff "cool off" while you work on other sections.

5. Come back and edit down the riff material that works best in your story. Set aside bits that might be useful elsewhere for expanding other sections of the story.

Lyon notes that in her twenty years as an independent editor, she has rarely seen consistently overwritten fiction. It's far more likely that drafts are too thin, a shell of what they need to be. Revision is where you can pump in more life and fully develop your characters, plot and voice.

Quoted material from: Lyon, Elizabeth. Manuscript Makeover: Revision Techniques No Fiction Writer Can Afford to Ignore. New York: Penguin, 2008.

What sections of your story could benefit from riff-writing? How might you move from tidy draft to fully developed story?