Writing 101: Guilds, Groups and Other People

As an author, you need support. You need honest feedback. You may even need help figuring out certain writing techniques and double-checking your ideas. It's attractive to start joining guilds and groups, and plenty of writers advocate that. But when you mix with other people, you're always going to wind up with a mixed bag. Joining groups and getting involved has a good side...but plenty of writers will tell you about that. I'm going to flip the coin, and talk about the dark side of sharing your writing with other people before you've finished with it.

Team Players

I have often mentioned my childhood fantasy of being a writer. I would be sitting in a quiet room -- maybe in an attic, somewhere, or some book-lined room -- all alone just typing away. That, to me, is truly living the dream. Why? Because writing is solitary. You do it alone. To me, the idea of joining up with other writers has always seemed...damned counter-productive, to put it mildly.

But even I can see the merits in it. Writer groups can be helpful if you've got questions or want to test your ideas. Joining a group can help you find beta readers and review buddies and, I guess, lifelong friends. 

Writing 101: First Draft Questions

Finishing a first draft is an amazing feeling, and I want you to enjoy it...for a little while. But once that moment of joy is good and done, it's time to get down to the real work. Because up until now, you've been having fun. Now you have to edit your work, and that means you have to ask yourself the dreaded first draft questions. 

Don't have first draft questions? It's time to get some. Otherwise, how will you make sure your story is air-tight? 

That's My Interrogative 

First drafts are meant to be a bit frenzied. You've got a outline but you're not always following it, because the story ends up going somewhere you didn't quite expect. You're not sure if pineapples grow in Hawaii but you think so and you're going to check it later so that's fine. You haven't finished that one scene with the green plate because you can't quite figure it out, but you're getting back to that later so who cares. 

It's okay to do that in a first draft. You've got to just get the story on the page, and the little details will get filled in later if they're missing.

Well, hello -- and welcome to later. Because while it's good to play the part of the free-spirited artist while you're writing the first draft, you've got to get serious and become the boss as soon as you begin editing the very first page. No more playing it by ear or skipping over it for now. You've got to double-check facts, tighten up that sentence structure and become the drill sergeant of the book. Make Chapter 11 do those push-ups, or else. 

Writing 101: Roman a Clef, or How to Beat the System

I'm personally fascinated by history, but it's difficult for me to use this passionate love affair in my writing because I'm interested in real history and real historical figures. And if you write about real people in your books, even those who are long dead, you may experience backlash in all sorts of different forms. But other authors have learned how to beat the system, and they've done it so well there's an entire literary technique named for this sort of savvy trickery. It's called roman a clef, and you don't even have to be French to use it to avoid lawsuits and other author troubles. 

At Their Own Game

Want to write about something real, but fear reprisal? Don't shrink from the story you want to tell. Pull a fast one on them, and use roman a clef. 

This French term is used to describe a novel that is about real life -- real events and real people. This type of novel, however, is very thinly disguised as fiction. The trick is that the names are changed, and a key is added to the back of the book showing which "characters" represent which real people.

It's just that easy to beat the system. And it's been done time and time again by countless authors for all sorts of reasons. 

Writing 101: How to Run Your Email

Indie authors have to spend a lot time promoting their books. They use forums, they tweet, they blog -- they're out there. And when you're building an online personality and reaching out a lot on the Internet, you're going to get a lot of email. If you don't run it the right way, it will end up running all over you.

I didn't notice how many emails I was really getting, or how often I was actually checking my inbox, until I changed the notification sound on my phone. It's a loud sound, and it's a good one -- until you have to hear it 30 times a day. But it's not the notification's fault; it's mine. And if you don't know how to run your email, you're going to end up like me: with a phone on silent mode, and missing all your calls. 

Writing 101: What's Your Hook?

Like the best hit songs, good books need to have a great hook. There are all sorts of different ways to hook readers right at the beginning of a story. Do you know how to use all of them? 

Baiting the Hook

How  a story begins is really the most important thing about it, because there are readers out there who will look at this and nothing else. If you don't catch those readers who nibble on those first few lines, and get them reeled in, you'll lose them for ever. There are many different literary devices which can be used to hook readers. Get to know them, learn how to use them and then figure out how to make them your own. 

Getting Mature in YA

Today's topic is mature themes in YA fiction. Just when do books cross the line from young adult into too-adult fare for teens? And when they do, does it really matter?

Get the answers today, plus lots more, in the guest post I did for Paulette's Papers. In the post, I'm talking about my newest book, plus a classic example of YA lit.

Writing 101: Who Are You to Dole Out Poetic Justic?

If you're going to torture a character, I want to enjoy it. I'm not a sadist, I'm referring to poetic justice. It's a pretty common literary technique, but it's also very tricky. Few authors get it right. The thing about poetic justice is this: a little goes a long way. 

The House That Martin Built

You'll see poetic justice a lot in storytelling. It's always satisfying when the villainous character meets his just desserts. We always root for the Road Runner to get away, and snicker when the coyote has the anvil dropped on his head. But if you drop too many literary anvils in your books, you're not longer a storyteller. You're a person who likes to dole out suffering. And of course, I've got an example. 

Writing 101: When it's Pointless

For many, reading is an escape. It's the chance to fall in love, have an adventure, defeat the forces of evil. But what happens when a book does none of those things? When characters don't grow, when resolution is not found, when there are no significant changes? When is your story...pointless?

Wish You Weren't Here

Many books contain action. Walking across the room is action. But what happens when the character gets to the other side? In books, it's not always the walking that makes the difference. It's what happens at the end. 

And in some books, nothing happens. The character goes across the room and sits down. Unless something falls out of the sky, why bother taking me on that walk?