Showing posts with label learn to write. Show all posts
Showing posts with label learn to write. Show all posts

Tuesday, January 7, 2014

Eleven Steps to Getting Published.

So You Want to be a Pro . . . ?
by Connie Flynn

Not in the world’s oldest profession way, of course, but as in professional writer . . . one who produces books regularly and, gasp, even gets paid for them.  The question always is, how do you get from rank beginner to a place where others pay you for your work?

It’s a simple path, but seldom an easy or one-step-follows-the-other process, and those who succeed almost always use these not-so-easy steps.

1.    Read, read, read.  Everything. Novels you love, novels you hate. Nonfiction in subject you love and those that bore you to death.  Newspapers, magazines, blogs.  Learn to recognize good writing and bad writing.

2.    By the time you get serious, choose a genre.  There are dozens. Way too many to cover here, but you need to know about them and if this is a foggy topic to you, start here. Everything seems to be well covered except for the romance genre, which is totally missing, so I found it elsewhere.


3.    Make sure the genre you choose to write is something you love reading or you’ll eventually hate your books. But if publication is your ultimate goal – and since you’re reading this blog, I suspect it is – it’s a good practice to write what is currently selling.

4.    When you’re educated about the marketplace, start getting familiar with the internal structure of a novel.  Just because you read them and have neat descriptions about theme and character building doesn’t mean you yet have the tools to do this yourself.

5.    Learn how to write a synopsis.  Boy oh boy, do writers hate those, but unless you self-publish – where, let’s face it, the publisher can read your mind – you’ll need to tell influential people about your book, clearly and with an entertaining voice.

6.    More and more writers are bypassing traditional publishers and putting their work out there as an independent publisher. This is, however, no license to ignore these steps because your first audience is your reader, the same one that traditional publishers are also aiming for, and they will judge you much more harshly if you slip up than they do the commercial publishers.

7.    Write your book.  Set a disciplined schedule.  If possible, do something on your book every day.

8    Finish your book.  Unless you have unusually good connections, your chances of selling an unfinished novel are nil.  So finish the baby.

9.    Revise your book, proofread it, then proofread it again.  The competition is so stiff these days you can’t afford to send out a sloppy manuscript.

10.    Don't let rejections or bad reviews get you down for long because some are harsh enough to send you into a  fetal position. Don’t indulge this urge more than a few days.  Submit again and keep submitting. If you're publishing independently, be careful not to dismiss the reviews. These are coming directly from your audience and you should study and learn from them. Just keep in an intellectual process, don't let them pierce your heart.

11.    There used to be six secret rules published authors never violate:  Write, write, write.  Submit, submit, submit.  Now there are nine: If you are an independent author, you must: publish, publish, publish. Do this repeatedly and well and you will succeed. And remember, you haven’t failed until you quit.



She woke up one morning on a Mississippi riverboat casino with a huge headache and no clue to who she was. With the help of new friends she rebuilt her life. Now, nearly two years later, a tall dark man with killer good looks comes after her. A bounty hunter, who claims she killed her father then ran out on her bail. She says he's got the wrong woman. He says she's guilty as sin. One of them is right . . .

Suddenly so many people are after her, she can't tell the good guys from the bad guys. But one thing she can do is KNOW WHEN TO RUN.


Award-winning, bestselling author Connie Flynn writes both long and short fiction and is published in multiple genres, including paranormal romance, romantic comedy, mystery and suspense, and contemporary fantasy/sci-fi. She lives in Arizona on a lush green park where she walks her dog and escapes from the hot desert sun. Her latest release is the-twists-and-turns romantic suspense, KNOW WHEN TO RUN.

Tuesday, September 4, 2012

Never Ever Be Boring

Plotting serves only one function. To organize the story events into segments that can easily be transferred into writing. There are many ways to do that and various authors have various ways to fulfilling that purpose. These vary from plot-as-you-go to detailed story boards that work out each scene before it's written.

What many writers forget, especially those who dislike plotting, is that the plot is not the story. It's just a framework for the story. The story comes about through the ways you show the events. In other words, how you write each scene, how you have your characters move through the events in your plot, the words you put in their mouths, this is what creates the heart of your story.

This heart is created skillfully using pacing, proportion and beats to reveal your story, word by word and a well-crafted story is never boring..

Pacing has to do with time and timing.  Proportion has to do with how many words, how much page space, is devoted to any given topic, location, event in a story.  These principles apply to both long and short fiction.

Pacing

Scene and summary are the writer’s most valuable tools in controlling story pace.  Scene, in this context, means a finite period of story time, with a specific location, where something significant to the characters and the story occurs. Summary is a block of words that compresses events on the page and clarifies the story direction.Whenever strong dialogue and high tension are occurring your story is being presented in scene. Do not interrupt a scene in progress with summary.

When a scene reaches the end, use summary to clarify major points and to transition to the next location in time and space.  Occasionally you’ll find a need to pull all these summaries into a cohesive whole.  Save these larger summaries for after moments of high tension.  This delays the information long enough that  readers are hungry for it and also provides a breathing spell to digest what’s already happened. Don't overdo. Brevity keeps your writing from being boring.

Proportion:
Authors must stay aware that when you give a particular story element lots of words, readers will assume the element is important. They've been trained to expect some kind of payoff for things that have the spotlight put on them. 

If you delay your character's trip to answer a knock on the door, readers will expect some momentous event when the door opens.  If there's no payoff, it won't be long before they put a book down. Today's readers days are used to the quick intercuts of movies and television and expect it in commercial fiction as well. They grow impatient with empty words, making brevity a writer's greatest ally to making sure you aren't boring.

Save your lyrical descriptive passages and well-crafted dialogue for the people, places and things who form the heart of your story.  Aim for clarity and brevity in your exposition and introspection and you'll have proportion on your side, which always adds up to a good read.

Beats and Movements

Beat:
A passage of writing that begins with the initiation of a conversation or an action and ends when the purpose is achieved (or not).  In other words, it’s a small beginning and ending.  Beats exist within beats. 

Movement:
A collection of beats that created a visible change in a character or a goal.

Thus a character could walk into a store, furious, determined to get a refund on a defective toy that left his daughter sobbing.  This beat begins when Dad approaches the customer service counter and will end when Dad gets the refund or is defeated and out of options. There could be more smaller beats, but, and this is a big but, if you include too many beats on the same topic, it just gets boring.

As beats expand upon smaller beats they turn into movements.  In this case, Dad is so enraged he punches the boss, making his daughter even more unhappy.  This could pivot the story from one about a Dad defending his unhappy daughter to a man struggling to build any kind of relationship with this young stranger he fathered but barely knows. A not uncommon situation that can easily drift into cliches and become boring.

What keeps readers engaged is how tightly and precisely you carve the beats inside your movements and how well you summarize a completed movement. The hard part is that there is no cut and dried definition for when beats and movements end except that each one needs to be a complete unit of action. In this example, Dad goes to the customer service desk expecting the refund and fails to get it – the beat ends because a new action is required of him.  Movements are simply larger units of collected beats.

Understanding these principles of writing keeps you from violating the two most unbreakable writing rules:  Never devote writing space to anything that doesn’t add to tone, characterization, plot movement, or world building and . . . never be boring, which are actually the same thing. 

Mind the pacing, proportion and beats of your stories and they will always engage your reader.

Till later,
Connie Flynn
Website: http://connieflynn.com
Blog:  http://imaginationgonewild322.blogspot.com
Facebook: https://www.facebook.com/ConnieFlynnAuthor
Twitter: @connieflynn