Monthly Memo: Finding Time to Write

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How do you find the time to write?

Can you be a writer when you have a full-time job?

Or a family?

I have a brilliant story idea but I’m just so busy…

The above are all questions are just a few ways people have essentially asked me “how can I be a writer if I don’t have time?” Every time I hear it I have a mixed reaction. I like it because it shows that these people understand that writing is a craft that takes time and work and dedication. It shows they respect that it doesn’t just magically happen. As a writer, I appreciate that because many, many people think writers just throw some words on a page, easy as pie.

On the other hand, I absolutely abhor the question. The reason I dislike it is because writing is like anything else someone wants to do, if they really want to do it they find the time. There’s no magical secret to how writers find time to write, they just make it happen.

That being said, I know some people will still want ideas for finding time to write, so here are some ways I find time to write when I am slammed with other life responsibilities:

Sleep Less

If you really want to write, then you’re going to have to find the time elsewhere. If you don’t want to cut back on work, hobbies, free time, etc., then your other option is to cut back on sleep. Either get up an hour earlier, or go to bed an hour later, and use that time to write. You don’t have to do it every day, even an hour a week will add up in the long-term. The point is, the time has to come from somewhere and sleep is something everyone can cut back on now and then without too much consequence. So pick a day a week to try it and go from there.

Multitask

Can you eat lunch and type at the same time? How about when you’re watching a movie or listening to music? Can you talk while you do household chores? What about when you’re driving or hiking or whatever your hobby is? When I’m on long road trips I use a tape recorder to plot and outline, develop characters, and sometimes even write a few pages. You can do this while out and about doing things like hiking and such as well. I know several authors who do this, and some even send the audio out to be transcribed for them to make things easier. It takes some adjustment to get used to writing in this fashion, and it’s not always your best writing, but getting something down on the page so that the next time you have a break you can revise it makes for better progress than not writing at all.

Every Spare Minute

Basically, this is the main option. Every spare minute you have you try to write. Even if it’s just you wake up in the morning and jot a line down, take a shower, jot another line, eat breakfast, jot a line, go to work, jot a line a lunch, work some more and jot a line again a dinner and before bed. If you do that all day you should at least have a paragraph if not a whole page. Writing is done one word at a time, and while it’s not the most efficient method for writing, the little lines add up throughout the days/weeks/months and before you know it you’ll have a finished piece of work. So anytime you can add another word, sentence, paragraph, and so on, you should.

Final Notes

I know the above advice is nothing brilliant or even particularly new, but sometimes as writers we all need reminders that if we want to write, we have to find time for ourselves. There’s no magic secret or perfect writing opportunity that’s going to appear in your schedule. You use the time you have, any way you can, using any medium available, to get words on the page. Yes, it may not be efficient or look anything like the “dream writer’s life” but you’ll be writing, and you can’t be a writer if you don’t write.

 

Robin Conley offers great writing advice in her Monthly Memo on Writing to be Read. If you just can’t wait until next month to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.


Monthly Memo: Playing Cupid

Since this month’s memo date falls near Valentine’s Day, I thought I’d write about how to pick your protagonist’s love interest for a story. I find you can’t always decide on the dynamic between a couple until you write out their first meeting. So with that in mind, here is how I go about doing that.

To start, we need to first pick your core protagonist. If you have one in mind, that’s great, skip to Step Two below. If not, begin at Step One.

Step One: Pick your protagonist.

An easy way I find to create a core protagonist when I’m really struggling is to think of three people I know. Then I think of a prominent personality trait for each of them.

For example:

Person 1: Talks too much, and rambles.

Person 2: Is obsessed with dogs.

Person 3: Is always negative.

Try to pick traits that don’t overshadow each other. So don’t pick traits like one loves cats and the other loves dogs. Once you have the three traits, combine them to create the partial personality for your new protagonist. Using those traits as a jumping point, come up with other details about the character you are creating. Male or female? Age range? Occupation?

For mine, we’ll say it’s a female, who is a vet, and who is in her late 20s.

Keep expanding the details of your protagonist until you feel like you have a good general idea of who they are.

Step Two: Find the love interest.

If you already have a protagonist in mind, make sure you can describe them as if they were one of your friends you’ve known for years. What’s their hobby, what’s their job, what’s their secret wish, what’s their favorite thing in the world, and what’s their biggest pet peeve? You should be able to at least answer the above questions, but preferably much, much more.

Once you have the general idea of the protagonist, it’s time to find their love interest. Whenever I have to find a love interest, I always make a list of the places my character is most likely to be because these are the places the love interest is most likely to be found.

For my example: My character is most likely to be in her vet’s office, at home, or maybe volunteering at an animal shelter. So the place she’s most likely to meet her future love interest is in one of those places. Let’s go with at the Vet’s office.

Once you choose where they may meet, then it’s time to choose who the love interest is. What kind of person would go to that place? For mine, it’s clearly going to be a pet owner, or maybe a vendor selling vet supplies, or even a coworker. I chose the easy one, pet owner.

Now go through the character building questions again – what does this love interest look like? What do the like to do? Why are they at this place interacting with your protagonist? Do they share any of the same personality traits as your protagonist? Do they starkly contrast to any traits? I usually like to have one strong thing that the two characters connect with (for mine, a love of animals), and then I have two or three things they can disagree on and fight over (for mine, attitude and the proper treatment for the pet).

Step Three: The first interaction.

The key to every love story, in my opinion, is the first interaction. In general, I find that love story first meetings go one of three ways: either the couple feels an instant spark, they instantly hate each other, or they barely notice each other at all except mild acknowledgment. So decide which of the three ways your meeting is going to go.

If they’re going to get along, decide what they instantly connect on and go with it. Write the scene and let try to make it last a few pages in the first draft. Show the strength of their immediate connection. Is it just physical, or is it mental, or both? Do they plan to meet again? Or never again? Explore the scene and free write a bit, you can cut it down later.

If they’re going to fight, then what is it that’s going to make them hate each other? Since my protagonist is always negative, I think it would work best if she and the pet owner get in a fight initially. She wants him to treat his dog with a specific medicine, but he’s adamant that he wants to treat the dog naturally. Whatever your characters are fighting about, write the scene.

It’s generally works better if they can both be somewhat right, because you want them both to be likable. So for mine, I wouldn’t make the illness for the dog anything serious, maybe something minor like fleas, and then the fight isn’t something that would make the owner, or the vet, unlikable.

If they’re barely going to notice each other, they still have to connect on some small scale so there is something to build their relationship on as the story progresses. So what is the small detail they’re each going to remember about each other? Do they both buy the same item in a store? Do they both do something kind for the same stranger without knowing it? Does something one does have a positive impact on the other somehow?

Write the scene and see what transpires between your protagonist and new love interest. Remember, you aren’t writing the entire relationship, you’re writing the first meeting. You want to leave room for their relationship to grow and develop. So make sure when the pair parts, there’s room for things to continue changing between them.

I really think the first meeting is the key to developing any relationship because it sets the tone for everything to come in the story for that couple. Once you have that first meeting right on paper, then you can build the rest of the relationship from there.

If you want another way to start the story for your love interest, you can also try my “Meet Cute” writing prompt on Author the World.

Until next month, happy writing!


“Horror 101: The Way Forward” Offers Good Advice for Authors and Screenwriters

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This is the longest book review I have ever written. This book was so packed full of useful information for rising authors and screenwriters that I felt I needed to cover it all. If you are an upcoming horror author or screenwriter, trying to figure out how to get a foot in the door or where to start in the matter of launching your career, Horror 101: The Way Forward offers “career advice by seasoned professionals”. Different writers will find different essays useful, so I’m giving you a rundown on all the informative essays included.

Compiled by Crystal Lake Publishing, this collection of essays has something for every writer. The anthology features quotes from the masters such as Stephen King, Ray Bradbury, Isaac Asimov,  J.R.R. Tolkien, Jack London, Clive Barker, H.P.Lovecraft, Edgar Allen Poe and many others. Advice from professional writers and editors covers all aspects of the horror writing business, and the business of writing, in general. From submitting your work, to marketing and promotion, to self-publishing and building your writing business, to crafting your work and the writing process.

The answers to many questions on the topic of submissions and all other aspects of writing as a business are found within its pages. Not getting positive response from your queries? First read Rejection Letters – How to Write and Respond to Them by award winning author Jason Bark, which offers an attempt to write a rejection letter that doesn’t sting, (at least, not so much). Then, flip to Seven Signs that Make Agents and Editors say “Yes!” to learn what agents and editors look for. Buttoning Up Before Dinner by horror author Gary Fry also offers advice to put you in the good graces of publishers and editors and create well-written stories.

Unsure how to submit your work? Submitting Your Work: Read the F*****g Guidelines by freelance writer and editor John Kenny offers tips for making a professional submission from an editor’s perspective. And What a Short Story Editor Does by horror, fantasy and science fiction editor Ellen Dallow explains the responsibilities of short story editor.

Looking for sound career advice? Be the Writer You Want to Be by television writer and novelist, Steven Savile recycles the best writing advice the author was ever given. The Five Laws of Arzen by award winning dark fiction author Michael A. Arzen offers hints to help you survive a writing career. How to Fail as an Artist in Ten Easy Steps: A Rough List Off the Top of My Head, by Confirmed Failure… by horror author John Palisano provides a reverse list of things you should do to be a successful writer.

Wondering if you need an agent to get your work in front of editors and publishers? Do You Need an Agent? by author Eric S. Brown is a discussion about the need, (or not), for an agent and relates the personal experience of how the author became successful without one. Also included are essays on building your writing business in Balancing Art and Commerce by author and screenwriter Taylor Grant , offering a look at various mediums one can write in and earn a living & advice in the business of writing. There are even essays offered on the lucrative business of ghostwriting, with a personal experience as a ghostwriter shared by dark fiction author Blaze McRob, and Ghostwriting: You Can’t Write it if You Can’t See It by award winning author Thomas Smith instructs on how to step into the author’s shoes and write like them.

If you are hoping to find some help muddling through the vast world of marketing and promotion, The Year After Publication by horror & thriller novelist Rena Mason offers an account of what to expect once you publish your first book and a walk through the exhaustive process of book marketing. How to be Your Own Agent, Whether You Have One or Not by horror writer, editor and publisher Joe Mynhardt offers tips for marketing your stories and yourself.  Reviewing by founder of Ginger Nuts of Horror, (one of the most viewed resources in horror fiction), Jim McLeod discusses getting your book in the review pile & what the writer should do while awaiting publication of the review.

If you’ve  not attended a conference or convention before, Pitch to Impress: How to Stand Out From the Convention Crowd by editor R.J. Cavender provides a guide to making a pitch that will snag agents’ and publishers’ attention. Tips for networking at conferences are offered by dark fiction author Tim Waggoner in You Better (Net)Work, and Networking at Conventions by Bram Stoker Award winning author Lucy A. Synder offers a look at the benefits conventions have to offer and a breakdown on some of the major ones for horror writers.

There is a plethora of advice offered on publishing, including a comparison of traditional publishing vs. digital publishing in Weighing Up Traditional Publishing and Ebook Publishing by award winning author Robert W. Walker; Publishing by editor and publisher Simon Marshall-Jones compares publishing in the digital arena with the way it was done in the past & how to become an independent publisher; and Glenn Rolle Toes the Line with Samhain Horror Head Hancho, Don D. Auria by Glenn Rolle with Interview that maps Auria’s rise to the top.

The arena of self-publishing is also explored in Make Your Own Dreams by horror and suspense novelist Iain Rob Wright. Besides being a plug for self-publishing’s evening of the playing table. It relates personal experience and advice for self-publishing, walking us through the self-publishing process. Self-Publishing: Thumb on the Button by author Kenneth W. Cain gives a list of things to think about before you choose to self-publish.

Also included are essays on the different mediums for horror: Poetry and Horror by Blaze McRob, and Horror for Kids: Not Child’s Play by novelist Francois Bloemhof offers guidelines for writing horror for youth. Several essays on comics and screenwriting, (one of the biggest outlets of horror today), are also included.

Horror Comics – How to Write Gory Scripts for Gruesome Artists by novelist Jasper Bark discusses the craft of writing horror comics and the relationship between writer and artist. Some Thoughts on My Meandering Within the World of Dark and Horror Art by artist Niall Parkinson offers thoughts on creating dark and horror art. So You Want to Write Comic Books… by novelist C.E.L. Welsh discusses what goes into the making of a comic book.

From Pros to Scripts by author and screenwriter Shane McKenzie talks about the many challenges of screenwriting. Writing about Films and For Film by award winning writer, editor and screenwriter Paul Kane gives the story of the author’s rise to success and tips for learning the lingo of the business. Screamplays! Writing the Horror Film by award winning author and screenwriter Lisa Morton offers the basics of screenwriting, description and dialog, and tips for getting your screenplay made into a movie. Screenplay Writing: The First Cut is the Deepest by author, director and editor Dean M. Dinkel recaps of the author’s experience at the Cannes Film Festival.

Essays on writing a digital world include Running a Webserial, or How to Lose Your Mind, One Week at a Time by Southern author Tonia Brown, providing a brief history of serials and a rundown of what goes into running one on the web; Friendship, Writing, and the Internet by Bram Stoker Award winning novelist Weston Ochse with reflections on online connections with like-minded writers, and Audiobooks: Your Words to Their Ears by horror novelist Chet Williamson discusses what it takes to create and audiobook and what to expect from the effort.

Of course, there is also plenty of advice on crafting a quality story. What is Horror? by author and novelist Graham Masterson offers general writing advice which could be applied to any genre and instructs on how to push your writing to the edge. The Journey of “Rudy Jenkins Buries His Fears” by author Richard Thomas takes us on a walk through of the writing, editing and submissions process of a story. Writing Short Fiction by horror and thriller novelist Joan De La Haye offers tips to tighten your writing and move the story forward, and discusses where to look to sell your story and how to choose where to submit. Ten Short Story Endings to Avoid by Scottish horror novelist William Meikle supplies a valuable list, if you want to avoid having readers feel cheated. From Reader to Writer: Finding Inspiration by publishing and editing consultant Emma Audsley  offers advise for attacking the blank page. Writing Exercises by horror writer Ben Eads  provides exercises in description and dialogue. Writer’s Block by short fiction writer and novelist Mark West discusses how to keep the creative juices flowing. Editing and revision are covered with Editing and Proofreading by author and editor Diane Parking presents good reasons not to send out a first draft, and How to Dismember Your Darlings – Editing Your Own Work by Jasper Bark gives a brief guide on how to self-edit.

A few essays outline the needs of a writer and suggestions on how to meet them. Filthy Habits – Writing and Routine by Jasper Bark  offers a look at the benefits of creating a daily writing routine. A Room of One’s Own – the Lonely Path of a Writer by horror and fantasy writer V. H. Leslie discusses the need for solitude and space to write in. Writing Aloud by screenwriter and author Lawrence Santoro outlines the benefits of reading aloud as a part of the writing process.

Also included are Partners in the Fantastic: The Pros and Cons of Collaborations by novelist Michael McCarty, which looks at the views of various authors on collaborations, and Writing the Series by series author Armand Rosamilia, which explains why Rosamilia writes series.

Several essays offer advice specific to writing in the horror genre. Making Contact by award winning novelist Jack Ketchum discusses how to turn what you know into a horror show. Bitten by the Horror Bug by horror author and screenwriter Edward Lee looks at what motivates us to write horror. Reader Beware by author Siobhan McKinney explores the role fear plays in horror. Bringing the Zombie to Life by author Harry Shannon maps out four components of a good zombie story. The Horror Writers’ Association – The Genres Essential Ingredient by author and President of the Horror Writers’ Association (HWA), Rocky Wood gives  a rundown on the HWA

What’s the Matter With Splatter? by horror writer and Vice-President of the AHWA, Daniel I. Russell discusses the use of blood, gore and splatter in horror fiction or screenwriting, gives tips on how to use it to gain the desired effect, and discusses why some gore doesn’t get a second thought. Avoiding What’s Been Done to Death by British horror writer Ramsay Campbell defines good horror fiction & emphasizes originality. The (Extremely) Short Guide to Writing Horror by dark fiction author Tim Waggoner offers an introduction to writing horror, including techniques and brief definitions, and a list of good resources for horror writers. Growing Ideas by horror writer Gary McMahon offers a look into the author’s writing process. Writing Horror: 12 Tips on Making a Career of It by horror novelist Steve Rasnic Tem instructs on building your own writer’s toolbox and advice for entering the profession of writing horror. The Cheesy Trunk of Horror by international best selling author Scott Nicholson provides a look at both writer and reader perspectives on horror and dark fiction. Class: Vaginas in Horror by science fiction, urban fantasy and horror novelist Theresa Derwin offers an overview of women in the horror industry. And the afterward by Crystal Lake Publishing’s editor, Joe Mynhardt, includes his own advice for writing horror.

Horror 101: The Way Forward is based on the sound advice of seasoned professionals that is useful to horror writers in any stage of their careers. I recommend it with four quills for anyone who wants to write horror in either fiction or screenwriting.

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Kaye Lynne Booth does honest book reviews on Writing to be Read in exchange for ARCs at no charge. Have a book you’d like reviewed? Contact Kaye at kayebooth(at)yahoo(dot)com.


Monthly Writing Memo: The One and Only Writing Rule

As almost every writer knows, anywhere you go to discuss writing will always have someone proclaiming their tried and true rules for writing that you MUST follow. Post on any writing forum whether it be for screenwriting or fiction and you’ll find dozens, if not hundreds, of eager “expert” or “professional” writers ready to tell you exactly which rules matter and which are hogwash. Yes, many of these writers have published novels or sold scripts and are professionals in the industry, but does that mean their rules are THE rules to follow?

Absolutely not.

Let me say that again – Absolutely not. Just because someone has sold a script or published a novel or piece of writing doesn’t mean that they will be able to give you rules to writing that will be guaranteed to work on your story. If you put every writer who ever sold something in a room and asked them to come up with a master list of writing rules it’d be impossible. There’d be factions who think you can never write in present tense and others who think a description of the weather should never start a novel.

There’d be groups who think the epitome of literary or cinematic genius is one specific piece of work, and others who think that same work is a crock of shit. If the people who are actually selling works of writing cannot agree on what makes good writing, and which writing rules are always true, then how on earth can a newbie writer even dream of making it in the industry, let alone be brave enough to even try to put words on the page?

Ultimately, all of this boils down to one single fact about writing: There are hundreds of rules for writing, but one of those rules is that there are no rules. Now before you dip out of this article, because that’s a useless piece of advice in the previous sentence, give me a chance to elaborate.

Writing is a subjective thing. Every story is going to require following a different mix of rules to make it work. That’s why whenever I write a post about the “rules” of writing, I try to explain which situations the rule applies to, and where it might not apply. Also, every writer is going to have different opinions about what makes a good story, and every publisher/studio/audience is going to have a different opinion about what they find marketable and worth buying. If this is true, which based on the evidence presented through comparing a wide range of published and produced pieces of writing it is, then the one and only real rule for writing is that you have to know the “What” and the “Why” of your story.

Essentially, knowing the What’s and Why’s of your story is all about researching the genre or style of writing you want to write by studying the existing works in that genre, and being conscious about your story and your writing choices so that you can answer the following questions on each project you work on:

  • What writing “rules” do you have to follow for this particular story? In general, writing rules are not actually rules at all, but rather they’re typical or common guidelines of storytelling that work or don’t work based on previously existing works. So knowing what “rules” you have to follow just means you know which “rules” actually apply to what you’re writing, and which don’t. If you’ve done your due diligence and prep work before writing by studying other works that are similar to what you want to write, then you should have a general idea of what the common rules of that style or genre of story are, and which might apply to your story.
  • Why are you following or ignoring these rules? Every time someone tells you a “rule” for writing, it’s important to understand why the rule exists, and where it applies. For your own work, always be able to justify why you’re breaking one set of rules, and why you’re following other rules. You may not have to follow all the “rules” in your writing, but people come up with these various rules for a reason, so understanding why they exist will help you understand why you need to follow certain ones and ignore others in your work.
  • What is your setting, characters, plot, etc.? If you don’t know this when you’re writing, then your writing will probably be all over the place. Some people can free-write and discover a lot of these details as they go, but it is almost universally true that having these elements solidly in mind before writing will make your writing stronger.
  •  Why are you choosing these characters, this setting, that plot, etc.? Ultimately, the core of writing is to make deliberate choices and to be able to justify those choices as being ones that serve the story. Every character, setting, plot device, and elements of your story down to word choice can have a major impact on your writing. The more deliberate and conscious you can be in your choices, the more your writing should come together to tell a successful story.

As you can see, this one and only writing rule really boils down to being conscious about each choice you make in your writing and constantly asking yourself why whenever you are presented with a “rule” that someone thinks is universally true. All of these “rules” people come up with regarding writing are the results of people looking for the magic formula to a guaranteed sale on a piece of work, and they find it by looking for common elements across sold pieces of writing. While it is often true that these elements do exist, there are also just as many pieces of writing out there that break these trends.

Every story is its own thing and has its own identity, and I’m a firm believer that if you focus on serving the story rather than trying to force it to fit pre-existing rules or expectations, then your story will be better for it. I’m not saying you’re guaranteed to sell it, no one can guarantee that, but I am saying if you stay true to your story even if it means breaking the rules, your story will be stronger.

The important thing is to know what “rules” exist and to be able to justify why you broke these preconceived rules that people have and to show that you did so consciously. Ultimately, people aren’t going to focus on whether you broke the “rules” or not with your writing when deciding to buy it, they’re going to focus on whether you’ve put in the work to construct a compelling story that people want to read. If you do that, nothing else matters.

 

Robin Conley offers great writing advice once a month on Writing to be Read. If you just can’t wait until next month to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.


Bringing in the New Year Write

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It’s 2017!  Where does the time go? It seems like just yesterday that I was venturing forth to start Writing to be Read on Today.com. Most of you won’t remember. It was supposed to be a site that would monetize my blog, so without a clue as to what I should write about, I jumped right in. I wrote about all kinds of things and at the end of every post I published one of my poems, in order to cover the full scope of the literary world, or something like that. That was in 2010, seven years ago. Wow! Unfortunately, several months later Today.com folded and the sight just disappeared, along with all the writing I had done there. In a panic, I found WordPress and re-created my blog here.

Since then it has be remodeled several times until it is what you see here today. As I said in my Looking Back on 2016 post last week, this past year has been a good one for Writing to be Read as it has grown in popularity. So to start the new year out, I’d like to take a closer look at what I hope to accomplish with the blog this year. In last weeks post I mentioned a few ideas I wanted to see come to fruition: author and screenwriter profiles, more screenwriting content, coverage of more writing events, and guest posts by authors, screenwriters and other industry professionals. That is the shape I foresee for Writing to be Read.

But, you know, this blog wouldn’t be anywhere without you, the reader. Watching my statistics, it’s you that determines what content I create. It’s you that make the number of followers climb, you who increase my page views. With this in mind, I know I can’t move forward without asking you what content you would like to see here in the coming year. Are there topics of interest you’d like to learn more about? Do you have questions you’d like to have answered through one of my posts? And while we’re at it, who would you like to see profiled or interviewed? What books or movies would you like to see reviewed? What topics would you like to see investigated? What events would you like to see covered? What kinds of things will keep you coming back for more?

Another goal I hope to accomplish is to continue to increase my following and have more reader interaction through comments. I appreciate every reader I have gained over the years. Some of you, I have come to think of as friends as well as readers. I also welcome new readers. If you are here for the first time, or maybe you’ve been here before but you haven’t subscribed to email or followed on WordPress yet, please do so before you click on the next website. I make no money off Writing to be Read. My only reward is to watch my followers grow and know I am being read. Subscribe, follow, leave a comment to let me know you were here, or do all three. With your help, we can make 2017 the best year ever for Writing to be Read.

 


Looking Back Over 2016

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This will be the last reflective post of the year. Next Monday’s post will find us in 2017. For my writing career it has been a slow take off, but I’ve seen progress. In July, I completed my Master of Fine Arts degree in creative writing. With emphasis in both genre fiction and screenwriting, and two completed novels, Delilah and Playground for the Gods Book 1: In the Beginning, two full feature film scripts and one comedy series pilot script in hand, I eagerly jumped right in to get my feet wet in either the publishing and/or screenwriting industry. I began submitting my work to agents, publishers, and competitions like crazy. I received mostly rejections, as expected, and although I still haven’t found a home for either novels or scripts, I did manage to find a home for two poems and two short stories. Not too bad. While the poems, Aspen Tree and Yucca! Yucca! Yucca!, appeared in print, (in Colorado Life (Sept.-Oct. 2016) and Manifest West Anthology #5 – Serenity and Severity, respectively), my short story,  I Had to Do It was published on Zetetic: A Record of Unusual Inquiry, and my not so short, short story, Hidden Secrets was published on Across the Margin.

2016 has been a pretty good year for Writing to be Read. The revamping of the blog site was completed in March, I’ve managed post things on a fairly regular basis, we were honored with guest posts by my friend Robin Conley, and my visits and page views have risen, with almost 2000 visitors and over 2,500 page views. Looking at this, makes me feel pretty good about the blog, as a whole. Another good change is the addition of screenwriting content, which I believe has drawn a larger audience by widening the scope of the content.

13595804_10208551605339796_604487774_nThe top post of 2016 was my book review of Simplified Writing 101, by Erin Brown Conroy, which is an excellent tutorial on academic writing, including writing advice that every writing student should know. After that, the reflective post Writing Horror is Scary Business would be second in line. Other popular posts include my four part Making of a Screenplay series,( Part 1, Part 2, Part 3, and Part 4), my Tribute to My Son, and What Amazon’s New Review Policies Mean for Writing to be Read. More recently, my ten part series on publishing, Pros and Cons of Traditional vs. Independent vs. Self-Publishing gave me the opportunity to interview some awesome names in the publishing industry: self-published authors, Jeff Bowels, Tim Baker and Art Rosch; traditionally published authors Stacia Deutsch and Mark Shaw; independently published author Jordan Elizabeth; and children’s author Nancy Oswald, who has published under all three models; as well as Caleb Seeling, owner of Conundrum Press and Curiosity Quills Press – with the final installment summarizing the conclusions made from those interviews. Snoopy Writing

Many of my posts were reflections of my own writing experience. These included: Why Writing is a Labor of LoveFear is a Writer’s Best FriendI’ve Come A Long Way, BabyWriting the Way That Works For YouCreating Story Equals Problem SolvingWhat’s A Nice Girl Like Me Doing Writing in a Genre Like This?; Acceptance or Rejection – Which Do You Prefer?; A Writer’s Life is No Bowel of Cherries; Write What You Know; Discouragement or Motivation?; What Ever Happened to Heather Hummingbird?; How You Can Help Build a Writer’s Platform; and Why Fiction is Better Than Fact.

2013-03-16 Ice Festival 014Sadly, I only attended two events that were reported on, on Writing to be Read in 2016 – the 2016 Ice Festival in Cripple Creek, and the 2016 Writing the Rockies Conference in Gunnison, Colorado. What can I say? I’m a starving writer. This is something I hope to improve on in 2017 by attending more events to report on. One possible addition to the 2017 list that I’m very excited to think about is the Crested Butte Film Festival. The details are not ironed out yet, but I’m keeping my fingers crossed.Fear of Laughter

Screenwriting content included this past year seemed to be popular. In addition to my Making of a Screenplay series and Writing Horror is Scary BusinessWriting to be Read also featured Writing Comedy for Screen is a Risky Proposition, and a book review for Hollywood Game Plan, by  Carole Kirshner, which I can’t recommend highly enough for anyone desiring to break into the screenwriting trade. Robin’s Weekly Writing Memo also included several writing tips that could be applied equally to literature or screenwriting.

Another project I’m particularly proud of is my ten part series on publishing, Pros and Cons of Traditional vs. Independent vs. Self-Publishing, which I just finished up last week. In this series I  interviewed nine professionals from within the industry to get the low down on the three different publishing models. My interviews included self-published authors Jeff Bowels, Tim Baker and Art Rosch, traditionally published authors Stacia Deutsch (children’s books) and Mark Shaw (nonfiction), and independently published YA author Jordan Elizabeth. To balance things out a bit, I also interviewed children’s author Nancy Oswald, who has published with all three models, Clare Dugmore of Curiosity Quills Press and Caleb Seeling, owner and publisher at Conundrum Press.

bottledOne of the great things about doing book reviews is that you get to read a lot of great books, in with the okay and not so great ones. In addition Simplified Writing 101, my five quill reviews in 2016 included Jordan Elizabeth’s Runners & Riders, Mark Shaw’s The Reporter Who Knew Too Much, Nancy Oswald’s Trouble Returns, Carol Riggs’ Bottled, Jeff Bowles’ Godling and Other Paint Stories, Janet Garber’s Dream Job, Art Rosch’s Confessions of an Honest Man, and Mark Todd and Kim Todd O’Connell’s Wild West Ghosts. I don’t give out five quills lightly and every one of these books are totally worthwhile reads.

Point Break 1Of course, not all books get a five quill rating. Other books I reviewed that I recommended with three quills or more include three short story anthologies: Chronology, Under a Brass Moon, and Cast No Shadows; two poetry collections: Suicide Hotline Hold Music by Jessy Randall and Walks Along the Ditch by Bill Trembley; Escape From Witchwood Hollow, Cogling, Treasure Darkly, The Goat Children, and Victorian by Jordan Elizabeth; Dark Places by Linda Ladd; Chosen to Die by Lisa Jackson; Wrinkles by Mian Mohsin Zia; Full Circle by Tim Baker; The 5820 Diaries by Chris Tucker; The Road Has Eyes: An RV, a Relationship, and a Wild Ride by Art Rosch; Hollywood Game Plan by Carol Kirschner; Keepers of the Forest by James McNally; 100 Ghost Soup by , and A Shot in the Dark by K.A. Stewart. I also did two movie reviews: Dead Pool and Point Break.

I feel very fortunate to have had Robin Conley join us with her Weekly Writing Memo and her guest movie reviews. The useful writing tips in her Weekly Writing Memos covered a wide range of topics including critiquing, using feedback, ways to increase tension, Relatability or Likeability?, 3 Types of Plot, story research, what to write, making your audience care, world building, handling feedback, writing relationships, establishing tone, editing, word choice, How to Start Writing, endings, queries, Parts of a Scene, making emotional connections, the influence of setting, Building a Story, Inciting Your Story, movement and dialog, Writing Truth, time, Overcoming the Blank Page, Networking, character names, theme, set up, cliches, parentheticals in screenwriting, horror inspiration, and Learning to WriteRobin’s guest post movie reviews included Pride and Prejudice and Zombies, Batman vs. Superman, Miss Perigrin’s Home for Peculiar Children, and The Neon Demon13624744_10104024218870042_2001375168_n

I am thankful for Robin’s valuable content and am glad that she will still be contributing Memos on a monthly, rather than a weekly basis. Although I was sad to lose her weekly content, I am happy for her as she moves forward in her own writing career and I wish her well in her writing endeavors. For those of you who looked forward to her weekly posts, you can catch more of her content on her own blog, Author the World.

2016 was a great year for Writing to be Read, even if it was kind of rough for the author behind the blog. You readers helped to make it a good year and I thank you. Now it’s time to look ahead and see what’s in store for 2017 Writing to be Read. I mentioned some of the things I hope to achieve above: more posts pertaining to the screenwriting industry, and coverage of more events throughout the year are two of the goals I have set for my blog. I also plan to add some author, and hopefully, screenwriter profiles into the mix. I had good luck with author profiles during my Examiner days, and I think they will be well received here, as well.

I also hope to bring in some guests posts by various authors or bloggers, or maybe screenwriters, just to give you all a break from listening to me all the time. I believe Robin plans to continue with Monthly Writing Memos, which will be great, too.

I look forward to all the great books that I know are coming my way in 2017, too. The first reviews you have to look forward to are a short memoir, Banker Without Portfolio by Phillip Gbormittah, a YA paranormal romance, Don’t Wake Me Up by M.E.Rhines, a Rock Star romance, Bullet by Jade C. Jamison and a short story, How Smoke Got out of the Chimneys by DeAnna Knippling.

Happy New Year

I hope all of you will join me here in the coming year. Follow me on WordPress, or subscribe to e-mail for notifications of new posts delivered to your inbox. Have a great 2017 and HAPPY WRITING!


The Final Weekly Writing Memo and a Writing Prompt

If you aren’t interested in my update, skip to the bottom for a writing prompt.Weekly Writing Memo

The Update

As any readers who have been checking in regularly have probably noticed, I’ve been a little behind on posting these Weekly Writing Memos for the last few months. Between picking up new jobs, constant traveling, and a big move to Los Angeles from Michigan, it’s just been a struggle to keep up. Starting in December I am also going to be embarking on a project involving studying the horror film genre, as well as some new work as a part-time assistant editor for a small publishing company.

With my increasingly complicated schedule, this is going to have to be my last Weekly Writing Memo post for a while. Instead, I’m going to be cutting back to monthly memos and the first post will be sometime in December. I’ll still be doing other guests posts now and then to fill in for Kaye when needed, and I’ll hopefully be posting more on my blog as well. If you have questions, or if just miss me dearly, feel free to contact me at my blog Author the World or on my AtW Facebook page. For my final Weekly Writing Memo, I thought I would go with a writing prompt to leave you all feeling inspired (hopefully).

Writing Prompt – The Breakfast Fight

You have a character in a restaurant. They’re eating breakfast. Start with the restaurant. What kind of place is it? What kind of tables does it have? What kind of waiters or waitresses? What kind of clientele?

Now go to your character. Who are they? What kind of mood are they in? They can start alone at the table but they can’t stay that way. Your character is about to get in an argument. Do they know it yet, or will it be a surprise?

Before the argument starts your character’s breakfast arrives. What are they eating? Is it actually breakfast time? How are they eating it?

Once everything’s in place—the breakfast, the characters—it’s time to start the fight. Have your character continue eating throughout the argument. Try to keep the characters from making the argument into a big scene for as long as possible.

When the fight ends, does your character take out his anger on anyone else? Does he snap at the waitress, or forget to leave her a tip? Does he finish his food or lose his appetite?

Where does your character go next? How will he resolve the conflict? See where the argument takes you from there. Where there’s a conflict, there’s often a story, so follow it. If you decide you don’t like the characters in the argument, try writing it from the waitress’s or another diner’s perspective. Explore the scene and the people in it, and see where the writing leads you.