Category Archives: Author’s Craft

I’ve Been Told to Watch What I Write

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I’ve been asked on more than one occasion why I don’t go to the movies anymore, or watch drama television. My short answer is, ‘It puts me to sleep.’ Which is true enough, but when I analyze it, I realize it’s not the visuals that put me off, but the audio tracks. Every time someone of 007’s elk gets into a jam – which is about every other minute in most dramas – the producer decides to trump the scene with sound effects. It’s almost as if they’re trying to block your inner ear. And they succeed, overwhelmingly so. That’s the main reason I don’t watch what I write. Listening to pianos and violins while watching our hero and villain duke it out on the edge of a cliff is a stretch too far. Where’s the orchestra? To catch this on the page, the novelist would have to write something like…  “With each punch I landed, violins screeched in my ear; with each punch he landed, a piano struck a low chord.” That’s about as ridiculous as it sounds!

 

Films and television drama today are all eye candy, but the worst of the worst are sitcoms with laugh tracks. I think Seinfeld is great, but I can’t watch it for more than a few minutes. I’m old enough to judge what’s funny and would love to be able to see it without someone else’s interpretation. I love standup comedy, though.

 

Novelists have to appeal to more than just the eyes if they want to capture readers. The only way you can do that on the page is to get inside the head of your reader; open up their inner senses. Only on the page can you taste what’s cooking, feel the warmth of a touch, and smell the earthy dew at dawn. None of which comes across on the screen. Today’s film producers put so much weight on visual effects they’ve forgotten that silence speaks volumes.

 

Alfred Hitchcock was the master of silence. Hitchcock – whose logo was his bulbous silhouette – could keep an audience holding its collective breath staring at a pitch-black stairwell with only creaking footsteps getting louder. No soundtrack could be more frightening.

 

I enjoy watching most live sporting events. They usually do a good job with color commentary that adds to the coverage. But a few sportscasters just tell you what the cameras are showing, and that’s about as entertaining as having someone sitting next to you constantly saying watch this! Live auto racing is notorious for watch this commentary. Watching auto racing on mute is more dramatic, too.

 

I also enjoy watching programs that deal with nature, animals, science and history. Some of these programs are starting to introduce soundtracks, and I think they’re making a mistake. I guess they’re afraid they’ll lose the audience if they don’t put out something dramatic to hear while the lion slowly stalks the antelope on a starry night. I’d rather hear the crickets go quiet as the lion closes in. I’d rather see the antelope perk its ears at the sudden dead quiet. That would be much more dramatic, whether you’re rooting for the lion or the antelope. Instead, they cue the orchestra and rob viewers of nature’s voice. Where’s the remote?

 

My wife subscribes to Netflix and will watch hour after hour of the same series. She calls it binge TV.  I call it nap time.

Using Social Media to Overcome Writer’s Block?

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Writing takes practice.

Sure, we all know that, but too often, we are frozen by the blank screen or paper we call Writers Block. At least, that’s the excuse we tell ourselves.

The only way to break down that wall is to write.

And that brings us back to the beginning. How do we begin writing? Where do we find ideas?

Blog Writing Challenges

 Whether you have written or write for a blog, you need some social media presence to maximize this option. People are sharing their creative arsenal to battle the widespread war of writer’s block across the webisphere. These challenges are sites all across the Internet. Your journey is to find them.

I’m a fan of the social media site Twitter. Unlike Facebook, it’s an open media without memberships or restrictions. Connecting with writers and readers and celebrities is a Follow click away. Unlike LinkedIn, it’s not business-focused. Unlike Google+, this is not a new, unknown experiment. Twitter is established, creative and short to swallow with its 140-character limit in each Tweet. It’s easy to find similar topics and groups with a simple #hashtag search.

On the day I wrote this, I found an array of challenges with directed yet general hashtag searches. Some of these lead directly to the moderator’s website, while others simply group posts together under that specific hashtag.

Searching the Twitter hashtag #challenge showed writing and non-writing Tweets.  Scrolling through feed, the most relevant ones came from users like @convince to post a photo with every Tweet for one week, @RonovanWrites with his weekly haiku prompt  and @lettrs posing a #WordOfTheDay challenge.

One of my favorite hashtags is #6WordStory, a challenge posed by @Kelsye. Other searches relevant and directed to writers include: #WritingChallenge; #poetrychallenge; #FiveSentenceFiction; #haikuchallenge; and #fictionchallenge.

Twitter is not case-sensitive, so upper- and lower-case usage is personal preference. The words get you to the same location. I like to capitalize some of the longer hashtags to make them easier to read.

The beauty of Twitter is the prompts are provided, and the ideas out there are bountiful. Once you find an inspirational idea, attack that challenge with all your creative energy. Many people link to their personal blogposts, but you don’t need a blog to participate. Create a separate file on your computer and dedicate 15 minutes a day to play with words. Do an email exchange with a friend or family member. If you are uncomfortable sharing, choose a journal to write in for your personal enjoyment.

If you want to publicly share your accomplishments submit these, or parts of it, on your social media or link posts to your personal blog. If you want to make a visual expression of your art, use a smartphone app like InstaQuote or Notegraphy to create a graphic to share with others or save to your camera roll.

Using photos allows your social media reach to increase. The Twitter user @asilartist tied her #9WordStory challenge together by cross-posting from her @reclaimed poet Instagram account. The same hashtag exploration applies there. I found creative posts with the tags: #WritingChallenge; #PoetryChallenge; #threewordstory; #poemaday; #flashfiction; and #4WordStory.

Beware! Most users will use more than one tag, adding several related hashtags so their post can reach various audiences. As your curiosity increases, you will find yourself winding through a maze of related hashtags so that you can forget the original hashtag you started searching for. It’s glorious. It’s frustrating.

There are worse things than being lost in a new tag that connects to a newer tag that inspires you to search for a personal interest of yours. It’s the only way to drag yourself over that tall writers block wall.

Marital Advice for Grammarians

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I never want to be thought of as an annoying individual who likes to point out other people’s mistakes. With that in mind, when my husband recently said “…for you and I,” I stopped myself from saying, “You mean, ‘for you and me.’”

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In that brief moment between hearing the mistake and wanting to straighten it out, I decided that I wasn’t about to trade marital bliss for a lofty disposition.

Does anyone—even a supportive husband—ever really appreciate unsolicited grammar advice? It may be meant as constructive, but when it’s directed at you, the unexpected input seems like full-blown criticism. As if you failed a test that you didn’t know you were being graded on. You feel disrespected by the Grammar Police, insulted and stifled from saying whatever was on your mind.

A member in one of my online writing groups recently posed a question to the rest of the group. I immediately noticed that his question contained a common error: using “there” instead of “their.” Pretty much everyone is prone to making similar mistakes. We forget to apply certain rules or are guilty of little typos. In those instances, we simply lower our guard and something slips, unchecked and uncensored, through our fingertips. I wasn’t about to publicly point out the blogger’s mistake since it wasn’t important to the ensuing conversation.

Another writer, however, was excessively harsh. This stickler rudely asserted his opinion that “someone ought to be using a dictionary to improve THEIR spelling.” Ouch! Point made, although it wasn’t really a spelling error but more of an error in word choice. Notably, no one—myself included—seemed bothered enough by that faux pas to make an issue out of it.

Similarly, there was no good reason that the there/their matter couldn’t have been addressed in a friendlier, less offensive, and perhaps even private way. By politely ignoring the situation altogether, the rest of the group sent a subtle message to the one outspoken member that perfection isn’t always necessary, especially in informal settings.

I was glad I had sided with the discerning writers who let both the original mistake and the poor response go unaddressed. But it’s hard for me to subdue my persnickety nature. I admittedly harbor some intolerance towards common grammatical mistakes. There are standards, and writers are expected to lead by example. We’re judged not only by our ability to tell a story, but also by our mastery of punctuation, spelling, word usage, and sentence structure.

We have decisions to make over the tiniest details. For example, do we use a numeral or spell out the number itself when referring to a centennial home as being one hundred years old? (Usually it is spelled out, but there are exceptions.) Should e-mail be hyphenated? (Yes.) Can we abbreviate okay as Ok? (No. Capitalize the entire abbreviation, as in OK.) Is the title to a blog italicized or placed within quotation marks? (The name of the Web site is italicized and an article posted on the site is placed in quotation marks.) Do we trust our phone’s spell check when it inserts an apostrophe into our family’s last name…when we’re not showing possession? (No! The Bixbys don’t like that.)

A writer’s ability to convey clear and concise thoughts is dependent upon all these things, in addition to understanding the basic parts of speech. It is our job to expertly unite a myriad of facets—nouns, pronouns, adjectives, verbs, adverbs, prepositions, conjunctions, and interjections—so that our work reflects both definitive grammar and intuitive usage.

There is a lot to remember, so let’s find support in reputable guidebooks, like The Chicago Manual of Style. Then understand that despite our best efforts, occasionally, you and I are going to mess up. We should strive for—but not expect—personal perfection, be kind when offering advice to others, and relax with the people we love.

Ways to Practice Your Craft

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This year my family celebrated their 62nd annual reunion. The events take place in different states and this year the gathering took place in Michigan. Each year, as part of the fun, a souvenir book with a schedule of activities and family milestones was distributed to each participant. As chairperson of the hosting committee, I combined my love of writing and joy in researching genealogy in a special section of the souvenir book.

I solicited help from my sister who interviewed several cousins about past reunions. Her son took photos of Detroit and my husband edited my finished work. I’m still receiving positive comments about the book.

I now return to my fiction writing with the idea in the back of my head of writing a longer memoir. But first I have to decide if there would be interest in the story outside of my extended family.

How would a writer decide what would be of interest to readers of memoirs? Does the story have to be about surviving catastrophic events? Does the memoir have to take place during turbulent times? Or can the memoir relate the everyday events in the lives of several generations and how they stay connected?

What type of memoir holds your interest?

 

 

Typo!

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Every novelist needs a copy editor. Why? Because a copy editor makes sure the author is wearing his pants before he steps on stage, makes sure the author doesn’t have a trail of toilet paper stuck to her high heel as the lights come up. Yes, typos are that glaring.

Novelists cannot correct their own typographical errors because they know too much. Knowing what was meant to be said, the author reads what’s in their head not what’s on the page. It’s not a fault, just a fact. A copy editor will not have those preconceived blind spots. They will catch where you wrote breathe instead of breath. Copy editors will see the wrong use of their, they’re and there where your eyes will not. They will find your misplaced commas and misused semi colons and correct grammar where necessary. They will pick up on common wrong-word errors that spellcheck cannot, like typing were when you want where. And at finding missing little words like, for, an, and, at, or and so. Your mind’s eye does not see these kinds of mistakes, either.

Your copy editor is the last person to edit your story before you send it off to your publisher, so you’ll want to entrust this person with as polished a manuscript as possible. The best way to do this is to re-read your entire novel one last time, only lip-syncing it from start to finish.

You don’t have to say the words out loud, but you do need to move your tongue, lips and jaw. What happens is your mouth slows down your mind and forces you to say and see what is on the page. You are also likely to discover syntax errors, run on sentences, passive voices and homonyms, all the stuff that trips up coordination between the tongue and the eye. You’ll discover errors in pacing and entire passages that, really, can be cut. Your only criteria at this point is to clean up and clarify; everything else should be done. Reading like this will catch most of these common errors.

A good copy editor is essential today, whether you are self-publishing or have an agent. What comes out of his or her hands is what will stand the test of time. You, the author, will make all the suggested changes (or not) and correct the typos before submitting it, so in that sense you always have the last word. But by lip-syncing your novel one last time, you will make the copy editor’s job much easier, and much faster.

Who should you hire for this? Yes, I said hire, not ask as a favor. If you are really serious about wanting others to recognize your work, don’t skimp here. Ask other writers who they’ve used and who they would recommend. When you find someone you hear is good, and available, take them to dinner. You don’t have to wine and dine them, but get to know them and what they like to read. Ask them about their funniest stories with editing. That will tell you how much they like their job. Offer a few quips of your own about your research or who your protagonist is based on. At the end of dinner, you’ll both know each other better. You’re looking for someone who wants a personal stake in your novel, who wants to be as proud as you are to see their name attached to it. What they charge, what you pay, should be secondary to that.

How much you should pay is entirely up to you and your copy editor. Somewhere between a dollar a page and three dollars a page seems to be the going rate. The two copy editors I have worked with both charged a flat rate. I paid $250 for my first novel and $350 for my second, but they both moonlighted and neither could be bound to a timeline. The first time I hired a librarian, the second time an accountant. Both were equally methodical. I discovered accountants are very good at finding words that don’t add up, if you hire one who has a good command of the English language.  English teachers are another good source. An editor who reads your genre can be helpful, but don’t make that your only criteria. Critical editing is not what a copy editor edits for. All of your plot development, character development and timelines should be nailed down long before a copy editor sees it.

One final word on typos. No one gets them all, and that’s a good thing if you are in the antiquarian, collectable book business. If you don’t believe me, just go ask Alice. Or Huck. Or that “fool Red Cross woman” in One Flew over the Cuckoo’s Nest. True first print runs of these classics, identified by their typos, are selling for several times what a second printing will fetch. But that still doesn’t bode well for the author.