Not all authors can be prolific, turning out one, two, or even three books a year. To be sure, there are prolific authors out there. If you’d like examples, think Stephen King, Dean Koontz, J.K. Rowling, or take a look at my interview with the most prolific writer I personally know, Kevin J. Anderson. The words just seem to flow onto their manuscript pages with the right words, settling in just the right order, to say exactly what the author intended to say, requiring minimal editing and revision, churning out quality stories in mind boggling volume.
I am not a prolific writer. This is an epiphiny which came to me only recently. I know it can be done, but it’s just not me. Realizing this actually explains a lot about me. Now I know why I never could complete a NaNoWriMo. While it is true that I did once write a 35,000 word novel in nine days, it wasn’t the quality writing that I am capable of. It was a draft that was nowhere close to publication. I have to struggle through the plotting, and work things out in my head with my characters until I get it just right.
With Delilah, the first book in my western frontier saga, I completed the first draft and put it through a first read and revised, and ended up rewriting at least a third of the book because I changed one scene that impacted and changed everything that had come after, but the book came out better for it after two years.
The problem is that I’m a perfectionist, so anything that is less than as perfect as I can make it be isn’t good enough to go out there with my name on it. I don’t want to pump out a huge volume of sub-par writing just to bring in the green. My readers deserve more than that, and I won’t settle for less than the quality writing and well crafted stories that I long to create.
With the second book in the saga, Delilah: The Homecoming, I didn’t even get the first draft completed before the first rewrite. Around 40,000 words into the first draft, Delilah told me that the story was all wrong. Somewhere along the line, my plot had taken a wrong turn, and the story wasn’t going in the intended direction. (Yes, I talk with my characters with the stories in this saga.) When I reread what I had, I realized the truth of it. I had no idea where to take the story from the point it was at.
I tend to be a seat-of-the-pants writer. I get an idea and I have to get it down, so I just start writing. With short fiction, that’s not a bad thing, but when it comes to novels it can be. I could see a couple of places where I thought the story should go in a different direction, but the enormity of the task weighed on me and there were spots where I couldn’t see around what was already written. I set it aside for a month while I pondered the possibilities until I realized what needed to be done.
I may not be prolific, but I am obsessive/compulsive about writing, always having two or more WIPs in different stages of completion. While writing Delilah, I was also working on my thesis novel, which has now become book one of my Playground of the Gods science fantasy series, The Great Primordial Battle, along with completing several short stories during that time. Currently, along with crafting the first draft of The Homecoming, I’m working on two anthologies, preparing The Great Primordial Battle for publication, and working through the snags I’ve hit with my memoir, Losing Michael. It’s no wonder my books take years to write. Yet, I have the satisfaction of knowing that when I’m finished, they will be well crafted stories.
The soil of my mind is fertile and can produce an abundant harvest of stories. The children of my creativity just require longer gestation and growth periods. Stories don’t just spew out of my brain, ready made. They must be honed and crafted until they become the works of quality writing that my readers have already come to expect. But another thing that I’ve realized, with as many projects as I have going, when they all are finally published, and they are all lined up across my author pages and my website, it will appear that I am prolific to anyone who doesn’t know better.
The point is, as authors, we’re all heading toward the same goals, quality crafted stories. The path we chose to get there, they way that we approach the writing process, isn’t nearly as important as the fact that we complete the job. And we can all do that. What kind of writer are you?
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Losing Michael: Teen Suicide and a Mother’s Grief
“The Making of a Memoir” is a bi-monthly blog series which explores the stages of writing a memoir as I write the story of losing my nineteen year old son, Michael, to suicide, through his story and the tale of a life without him and the grief I experience every day, even after he’s been gone for a decade. Some progress has been made toward the actual writing of the book since the last segment. I made a final decision on the title above for the book, and work on the cover is in progress with Art Rosch at Starrts Creative. Although there is still a lot of material still to sort through and compile what I want to include, I managed to work through a considerable amount. The going is slow, as I knew it would be, due to the emotional nature of the material and the memories some of it awakens.
In the last segment, “Stage 1: Prewriting Tasks“, I said I expected this book to be the most difficult story I have ever attempted to write, and that has proven to be true. In fact, it has proven to be difficult in more ways than I had imagined. This segment was supposed to be titled “Stage 2: Selling the Story”, but alas, unexpected “Obstacles and Roadblocks” has become a more appropriate title. Over the past two months, I run into several and I’m still trying to find a way around, over or through one huge one in particular – legalities.
Memoir can and should be a work of creative nonfiction. It is a true story told creatively, so as to capture and hold the readers’ attention. What memoir is not, is a work of fiction, with fictitional characters and places. You are telling a true story, something that actually happened, something in which other real people played different roles, and to tell the story, their parts must be told as well, even if the tale doesn’t portray all of them in a positive light. A good memoir must be told with honesty, from the heart.
As I sorted through the plethora of material I have gathered and saved since my son’s death: his poetry, writings and artwork; my poetry and writings; and oh so many photos, I couldn’t help but think about the other people involved, directly or indirectly with the story of the events leading up to Mike’s death and also the events that came after, and I realized that there were more than a few, people associated with Mike, and law enforcement officers, who might not want this story to come out because of the manner in which they might be viewed for their parts in his death.
It normally wouldn’t be a problem at all. I’m writing the story of events as they happened to the best of my knowledge. Many facts surrounding Mike’s death were suspicious, and for a time I believed that Mike might have been murdered. Things didn’t add up, but the proof to back up what I know to be true was withheld from me by local law enforcement. I no longer entertain the idea that Mike’s death was anything other than suicide, without the proof that the events happened the way I claim they did, I could be open to liable in telling this story.
The individuals involved wouldn’t really be a problem. The obvious solution is to change the names. Even in a true story, real people can have fictitious names, without damaging author credibility. Authors do this all the time; you just state that some names have been changed and readers won’t feel cheated.
The law enforcement agency and certain individual agents present a bigger problem. Do I change the names of the law enforcement agents? Do I change the name of the area they represent? How much can be changed before a true story becomes a work of fiction? The proof I lack wouldn’t portray the local law in a positive way and they know it, so they aren’t likely to have a change of heart about sharing it with me for the book. They play major roles in the events leading up to Mike’s death, and the story really can’t be told without their inclusion.
Although this issue has presented a roadblock that appears it might be unsurpassable, I have a couple of ideas on how I might be able to get around it. I need to let it play out and see. If not, I’ll look for a way to go over, or under if I have to. This is a story that must be told, and I’m determined to tell it. By the next segment, in June, I should be moving forward once more. I’ll let you know how it gets resolved. I do hope you’ll join me then.
Join me in my writing journey through “The Making of a Memoir” the second Monday every other month on Writing to be Read: February, April, June, August, October and December. To be sure not to miss one segment, subscribe to email or follow on WordPress for notification of new content.
When I was in the M.F.A. program at Western State, they emphasized the importance of really knowing your characters. They had us answering questionaires about our characters which included questions about things that were never going to come up in the story, so it didn’t seem like they really mattered. I mean, who cares what Delilah likes to eat for breakfast? Or what her favorite color is? Unless it has direct bearing on the story, I couldn’t see any reason for knowing the answers to pointless questions about my characters. But I learned that I was wrong.
In order to be true to your characters, you must know who your characters really are. Readers may not know that red is your character’s favorite color because her daddy gave her a red dress on her eighth birthday and she thought it was the prettiest thing she’d ever seen, but you should. It may affect the color of car she drives after she gets her liscense, which leads to her getting pulled over while unknowingly carrying drugs in the car that her boyfriend stashed in it, which in turn can set off a whole series of events which otherwise wouldn’t have occurred. You might put her in a yellow Volkswagon Bug, instead of the cherry red Corvette she needs to be driving for the story to unfold, and our heroine to win the big race.
If you were writing an inspirational book, or a self-help book, you wouldn’t advise your readers to do something that was totally out of character for them because it’s very likely they would never, ever do it. Likewise, your characters shouldn’t do things that are out of character for them. Unless you know why your character is doing certain things, you can’t write in the proper subtext which will clue readers in to the motives, as well. The more you know about your characters the more their actions in the story will ring true.
By knowing your characters histories, you are bringing them to life, solidifying them into someone that will feel genuine to your readers. And these days, it’s all the fashion to interview your characters, or have someone else do it. These interviewers ask questions very similar to those used by my graduate program instructors on the questionaires they had us fill out. Your characters have to have past lives and histories in order to respond to interview questions, because they may have to do with things outside of the story line.
So, pull out those questionaires, such as the Proust Questionaire, or the Character Chart for Fiction Writers, and get to really know your characters. If you don’t know the answer to one of the seemingly meaningless questions, take the time to discover what it is, even if you don’t think it will ever matter. Challenge your character to an interview if you think it might help, or if you think it might be fun. Once you’ve developed the characters, write their stories true to who they are, to who you, the author have created them to be.
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While Book 1: The Great Primordial Battle is spending time with my alpha reader, I’ve been busy working on Book 2: In the Beginning. Now I know it seems strange name for a second book, but for this series, it’s actually quite fitting.
You see, Book 1 covers the time just before and after the Atlans arrival on Earth in prehistoric times, which result in a great battle between the Atlans and the monstrous creatures created by the angry Tiamat, Oldest of Old Ones. It is the story of how the Atlans came to be on Earth.
Book 2, on the other hand, takes place during Earth’s earliest civilizations. It explores Biblical times and even before, as well as visiting ancient Egypt and Minoan cultures. It looks at the beginning of time, hence the title, In the Beginning.
That said, I’ve finished the first draft for Book 2, and started on revisions. I guess maybe my writing process is a little weird. At Western, while earning my M.F.A. in Creative Writing, we talked a lot about our writing processes, and while everyone’s processes were different, I never found anyone whose process was like mine.
My first drafts are pretty rough, consisting mostly of the basic plotline. The basics of what happens in each chapter, so the way the story moves forward can be seen. Once, I have that down, I can go back and revise, adding description and action that helps the story move in each chapter, sharpening the image, hopefully, for readers. That’s where I am in the revision process now.
Before I send it off to my alpha readers, I’ll do another run through to check for repetition, spelling, grammar and punctuation errors, and eliminate unnecessary words. This is the pass that tightens up my writing to make it the best it can be before going to the alpha readers have a go at it.
Once I have it back with their comments, I may do up to three or four more passes, before I feel it’s ready to submit to publishers or agents. If all goes well, I will get Book 1 back from my alpha reader, which in this case may be a beta reader since I made revisions to the completed work after sending it out without raising any interest, about the time I have the final draft of Book 2 ready to send out for her scrutiny.
I think the main problem, possibly with both books right now, is a lack of emotion from my characters, which could result in a lack of emotional investment from readers. Identifying it as such is good, because if readers don’t care about the characters, they won’t continue reading. The challenge will be finding a way to fix it, so my readers will keep turning the pages. Fortunately, I found some great ideas for showing my characters’ emotions in a post titled Emotion vs. Feeling by David Cobett on Writer Unboxed.
The story is there. Now I just need to breathe life into it. That’s what writers do.
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The life of a writer. It’s what we all aspire to, right? But what do you envision when you think of yourself living the writer’s life? What exactly is it that makes it so appealing to us? And how close is it to the reality of being a working writer?
Many aspiring writers picture working in their pajamas, sleeping in or working late, running a schedule tailored to our own personal needs. Aspiring authors may envision book tours and readings to promote their published books, maybe even autographing copies for our fans, having strangers recognize us from our book covers. Others may see themselves traveling and attending writing events and conferences, meeting others in our field and networking. All of these are beautiful visions to have and they can be a part of what is referred to as a writer’s life. They are all worthy things to aspire to, but we may not be seeing the whole picture.
A writer’s life can be all that and more, but as with anything in life, it’s not all champagne and roses. Writers often spend more time on non-writing activities such as marketing and promotion, or networking than they do on the actual act of writing. Or they are forced to spend their time not on the creative process, but on promotional writing, such as query letters and resumes.
It’s true. Freelancers spend a lot of time promoting themselves in job queries, resumes and CVs. Aspiring authors spend much of their time peddling their completed works to editors, agents and publishers. Aspiring screenwriters peddle their scripts or ideas to agents, producers, directors or anyone else who is buying scripts and is willing to listen. And published authors peddle their books online, as well as at conferences and writing events, and perhaps even, like one author I know, at the local hardware store.
As was discussed in Pros and Cons of Traditional vs. Independent vs. Self-Publishing (Part 10): Conclusion, as well as in the preceding series, in today’s publishing industry, even traditionally published authors are expected to do a lot of the promotion and marketing for their books. Everybody is selling something. Whether it’s your writing or yourself, promotional activities take a lot of time.
Networking is another necessity. It’s really another part of marketing and promotion. We can’t get our work out there to be discovered without networking. In screenwriting, the thought is that you must also live in L.A. to network advantageously. I know at least two aspiring screenwriters who recently moved there in hopes of being discovered, but it’s too soon to tell if they will reap any benefits from it.While we may dream of attending writing events and meeting others of like mind, the reality is that these activities take both time and money, and the time you invest into networking, is time that isn’t spent writing.
Then, with all of these extra-curricular activities, a writer also has clients, editors or publishers, and a screenwriter has agents, producers and directors, breathing down their necks to meet deadlines. Of course, most aspiring writers or screenwriters consider themselves lucky to have deadlines. A deadline means that you have work that involves writing, so that’s a good thing. But it can be very stressful, especially if you’re actually trying to make a living from your writing, and struggling to make ends meet.
The fact is, writing isn’t all glamour and parties. Writing is a tough way to make a living. Especially in today’s market, when everybody wants to be a writer. Self-publishing has provided the means to make that dream come true, although there are no guarantees that your book will be a huge success. And self-published authors must do all of their own promotion and marketing, too.
Writing is a lot of work, starting with the creative process and moving through the motions to promotion and marketing. You might be able to do some of it in your pajamas if you so chose. Most of what writing is, at least for those of us who are still looking for a big break, is being grateful for every writing job that comes your way, searching for that one acceptance in a mountain of rejections, and endeavoring to persevere.
Is it worth it? You bet. There’s nothing like it when you find that one acceptance and know the whole world will be able to read your work, and you may be able to put food on the table for another month, or pay your car payment, or your rent. Writing is truly a labor of love, and this blog is the proof of that. It’s Writing to be Read, and I don’t make a dime off it. My reward is in each comment that is left, each blogger that takes the time to ‘like’ a post, and each new follower or subscriber I get.
Of course, I still search for a publisher for one of my two completed novels and I submit my short fiction and poetry everywhere I can. I still want my work to be discovered, naturally. But it does my heart good to know that my writing id being read, even when it doesn’t put food on the table, even when I have to get an outside job to supplement my income. I don’t have to dream about living a writer’s life, because for better or for worse, I live it.
One of the most important elements of a story for it to work is for everything to be set up properly. Your plot, your characters, and your resolution all need to be set up in such a way that your audience can believe them. If the audience doesn’t believe it, or “buy in” as it’s often called, then they won’t enjoy your story and may not even continue it. So how do you properly set up everything in your story so it works?
What does your audience need to know?
Think about your plot, your characters, and your world before you start writing. What does your audience need to know about each of these in order for them to understand your story? If needed, make a list. Add to it anything that needs to happen in order for your plot to unfold, and decide in what order those things need to happen.
The things on this list are the things you need to set up in order for your audience to get into your story. Does your character have a mental problem? Then even if you don’t reveal it right away you need to show signs of it, foreshadowing what is to be revealed so when the reveal happens the audience believes it. Does your world involve superhuman mutants? Then again, this is something that needs to be set up in your story so your audience understands the world. Even if you don’t want to reveal the mutants, you need to reveal that there is the possibility of something supernatural going on. Think of all these sorts of elements that will be in your story before you get writing so you have a clear image in mind of what you need to do. You don’t have to make the elements obvious or spell it out blatantly, but do find ways to at least hint at these details so they don’t throw off your audience when they come into play later.
When do they need to know it?
The second part of setting up a story is know WHEN to reveal things. How much do you need to set up right away, and how much can you hold onto and reveal later? You don’t want all these details to come out in a list when you’re writing. They should come out in small doses as necessary. For example, your audience needs to know right away that your character has an enormous scar if it plays into how people react to him/her throughout the story. However, your audience doesn’t need to know right away how your character got the scar. In fact, the audience may never need to know how the character got the scar unless it plays an important part in the story for some reason.
The common mistake I see when people are setting up a story is mainly not mentioning something until it is needed to move the plot forward. For example, if your character needs to know complex mathematics, but your entire story she never once uses math, it’ll seem awfully convenient if the moment she needs it she busts out some calculus. Anything such as this that is key to moving the plot forward, or key to solving a problem, should be established in advance of when the character needs it. If it is something that is constant, then it should be established right from the beginning. If it’s something minor, then it just needs to be established a few scenes or so before it becomes relevant.
How can I show it?
So how do you show these minor things in your story without them coming off as listing or uninteresting? Something like the mathematics example would be boring if the character just said “I’m good at math.” Instead, you could simply have a short moment where your character does some impressive mental math for some reason, or even have something subtle like a math diploma on the wall someplace. These kinds of small details, or small moments, can be a way to establish important elements without taking too much story time.
For anything minor, the quicker you can establish it and move on, usually the better. Anything that is a key element of the story can be established by doing continual small touches throughout the story as it unfolds. For example, if you want to establish someone has anxiety about something, you can have them behave in increasingly anxious ways until their full anxiety is revealed.
Ultimately, there will be three stages of setting up your story. The first is the things you’ll know right off that you need to establish before you even begin writing. The second will be the things you discover as you are writing. When you come across these things in the second stage, it’s important to remember to not just throw them in when they come up. Take a moment to sit back and think about where that detail could naturally fit into the story. If you just put it in where you think of it, will it seem like something that conveniently pops up to solve the story conflict?
The final stage of setting up your story will come after you get feedback. Whoever you use as your beta reader should be able to tell you what doesn’t make sense, and you can use that as a sounding board for what in your story needs more setting up, and what you can do less on. No matter how obvious you think something is, people will always have different viewpoints so if you can find a subtle way to set it up a tad more, it’s probably a good idea to do so.
Robin Conley offers great writing advice most Wednesdays on Writing to be Read. If you just can’t wait until next week to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.
Every story, whether intentional or not, has a theme within it. A theme is not necessarily a moral or lesson, but rather it is what your story is about at its core. Finding the theme of your story can sometimes take some work, as can making the theme come through in your writing, but it’s not as hard as it might seem.
What is your theme?
To find your story’s theme, ask yourself what your story is about. Maybe you won’t be able to break it down into a neat answer, but as long as you can answer the question you have the first step to finding your theme.
For example, let’s say you’re writing Die Hard. Your story would be about a cop who travels to visit his wife out of town, and ends up having to stop a terrorist plot. So what is the theme of this story? Well, it can be broken down in a lot of ways if you think about what the general terms of the story are: good triumphing over evil (cop vs villains), one man against the world (John vs the terrorists), or even how greed can lead to your downfall (the terrorists refusing to give up even though they’re losing because they’re determined to get the money).
The key to figuring out your story’s theme is to think about the larger concepts and the plot of your story, then try to break them down into simple terms as shown above. These larger ideas are the core of your story, and they help tell your audience what type of story it is. If you’re doing this and you are having trouble deciding what the main theme from your options is, ask yourself which potential theme if removed would completely change the story. The one that can’t be removed, and the one that is the biggest overall concept of the story, is your main theme.
How to show your theme?
Showing your theme throughout your story should not be hard. In Die Hard the theme of good triumphing over evil happens consistently. John is determined to do what’s right and to stop the bad guys, and despite all the trouble and missteps that happen, he ultimately always comes through. Even when he loses, it’s just further motivation for him to come back at the bad guys with even more vehemence so he can win. So for your own story, think of what your theme is and how your main character can represent that theme in some way.
Other ways to show your theme is to use something called mirroring. This is when you show the theme through minor secondary characters throughout the story. Sticking with the Die Hard example, you can see some minor mirroring of the theme “one guy against the world” when you look at the local cop who is stuck outside the building and is trying to help John. This cop is fighting against all the others to get John help and is the lone voice in the crowd. By showing your theme through these small mirroring acts you are also adding another layer of plot to your story.
You don’t always have to have the minor characters experience the same outcome as your protagonist either. You can use minor characters to show what the other possible outcome of your theme could be for your protagonist. For example, if your theme is good triumphing over evil, you could have a minor character lose to the evil to show the consequences if your character fails.
Can you have multiple themes?
As is clear with the Die Hard example, there is always a potential for there to be multiple themes in your story. Of course there should be one main theme that is the core of your story, but there can also be some minor themes that help build up your story as well. Maybe good vs evil is your main theme, but then you have themes involving love or, like in Die Hard, greed. These kinds of minor themes can contribute to your plot, as well as help deepen your characters, and many of them will appear without you having to force them into the story. If you look at your subplots, you should be able to see some of the themes that are present in them and bring them out a bit more so they are stronger.
In general, it’s a good idea to know what your theme is before you start your story so you can keep your writing consistent. Sometimes, however, the theme comes out and is discovered as you write the story. Alternatively, you can also start your story thinking the theme is one thing, but as you write you discover it is really something else. This is fine, and happens all the time, but if it happens this way make sure you go back once you’re finished writing and make sure everything is consistent throughout the story. The most important thing about the theme of your story is that you’re consistent, and the clearer the theme is in your mind when you start writing, the easier this will be to do.
Robin Conley offers great writing advice most Wednesdays on Writing to be Read. If you just can’t wait until next week to find out more, you can pop into her blog, Author the World, for more tips, or a weekly writing prompt.
Through all my conversations with other writers, I’ve learned that there seems to be two camps of people when it comes to naming characters, places, and things in stories. One group thinks that the names don’t matter, while the other spends hours finding just the right meaning for each name in their world. Personally, I think it depends on the story, as well as whatever it is you are naming. I do believe main characters should have names that mean something, or at the very least, ‘fit’ the character’s story, but I don’t think everything in your story has to have deeper meaning. If you want to give the people, places, and things you name in your story special meaning, there are several ways you can go about it.
One of the main things I do look at when I am naming something is the origin of the name. What country is the name originally from? What language is it? Is it predominant in a specific religion, or culture? These kinds of details can help you pick names that have more history behind them to help with whatever you are naming. If you have a character that you want to have an Irish background, then a name with a touch of Irish history would be perfect. It doesn’t have to be a historical or cliché name, but it is an option. Another option is to research popular names in Ireland and pick one that way instead. You may end up with a name that isn’t classically Irish, but it will still have a connection to Ireland.
The point of this kind of research for the names you give in your stories is that it creates a built in history for what you are naming. Without telling the reader, you are hinting at where your character might come from and what their family connections are. Now of course people in real life are often given names with no connection to their roots, and you can use this in your story as well if you want, but by making a deliberate choice to either use the name or not you are making every element of your story count. So be deliberate, and if you decide to go against your characters origins, then make that part of the story as well even if it’s a minor part.
Something else you can use to your advantage when naming a character, place, or thing in a novel are known preconceptions about the name you use. For example, if you use a name from a myth, many people will recognize it and have certain ideas about that character. Zeus is a mighty god with great power, who also happens to be a bit of a player, and a character named Zeus might be suspected of having some of those traits. There are all sorts of fables and legends out there from every different culture and time period, and even if you use one that doesn’t have meaning to the majority of the population it will still help deepen your character. The point is that it is another layer for a reader to find, and the ones that do will love the touch.
Beyond past myths, you can also use names from modern pop culture and such. Big names like Kanye or Justin are well known enough that they also have immediate pre-conceptions to them. Maybe in another 20 years they won’t have the same impact on your readers as pop culture changes, but for modern readers you can use names like those to paint a picture of who your character is. Big public names have personas around them, and if you’re writing a character with a similar attitude you can use those pre-existing ideas to help nudge your reader in a certain direction before they know anything else about your character.
One of the final elements you can use when naming things in your stories is symbolism. There are all sorts of names and words that have deeper meaning beyond them besides the word itself. Most names have some alternate meaning to them when you research the original language they came from. These sorts of meanings can be used to speak to the type of person your character is going to be. If you have a surprisingly brave character, then choosing a name that secretly means bravery could be a subtle nod to readers who know that. These are the kind of details that won’t change anything in the story for the most part, but they can add another layer of meaning to your story. It can be especially useful when naming objects in fantasy worlds.
No matter your take on naming in stories, it’s important to consider what the minor details of naming can do for your story. The small touches can often give a story the extra boost to make it something special. As a reader, I know I enjoy the small details that I discover later on about a story, such as deeper meanings in names, and it only makes me enjoy the story more. If you do go the special naming route, however, I find it works best if you don’t go too obvious with the symbolism in the name. You want it to be a small touch, not a neon sign in your audience’s face. Ultimately, if you find a special name is something that will add to your story, then use it, if not, then don’t. It’s your story, so you have to decide what benefits it the most. Trust your instincts and you’ll be fine.
Sorry I have been missing the last few weeks. As you might have seen on Author the World, I unexpectedly moved to Los Angeles and haven’t had a lot of time to do posts. This week’s post is all about networking. Networking is a major element of having a writing career, and it takes some practice to really learn the right and wrong ways to network.
The most important thing to remember when networking is that you shouldn’t be doing it to use people, and you shouldn’t be doing it to be selfish. Good networking is about being genuine. The best way to network is to approach each networking relationship you make with the attitude of how you can help each other, rather than focusing on how they can help you. The best kinds of networking relationships are mutually beneficial, and maintaining this kind of attitude helps these relationships stay healthy and fulfilling.
Building your Network
You can build your network literally anywhere, it’s all about meeting people and learning about them. If you know who people are, what they do, and what kinds of people they know, you can keep them in mind for later if something comes up they can help with. For writing, often times you can make networking connections in writing groups, classes, at conferences, or even in random places like coffee shops and hair salons. The important thing is to keep your eyes open for people you can help, and for people that may be able to help you. Remember, things need to go both ways, and sometimes the act of offering help to someone can lead to unexpected connections. Ultimately, all networking contacts break down into four different types that can each be beneficial in their own way.
The Introducer may not have any work for you, and may not be someone who is going to offer you advice, but they do know people you want to know and they will help you meet them. These kinds of contacts are always useful to maintain because they help broaden your network, and they can help introduce you to other parts of the writing world you may not be familiar with. One of the best way to meet new people is through a middle-man who can introduce you because it can cut out the awkward process of trying to force a meeting with a stranger. If you’re going to be the Introducer for someone else, remember to make sure you give each person’s name, and then try to share what they have in common or why you think they should talk so you can help jump start the conversation.
The mentor is someone who has been where you are and knows a lot about the business. They are the perfect sort of person who can offer you advice, and give you guidance that will make navigating the writing world easier. Maybe they won’t be able to get you a job, or introduce you to new people, but they will help you find answers to the random questions and issues you run into. Just make sure you don’t burden your mentor by asking too much of them, or wasting their time with easy questions that you could have found out anywhere. They may only have so much free time, so make sure to figure out how much help they are willing to give you and to stick within that range. If you are going to be a mentor, be clear up front what you are willing to do for the person you’re helping, but also try to remember what it was like when you were where they are.
The Helper is someone who has an opportunity for you that could potentially help your career, whether it’s a job or an interview doesn’t matter, it’s someone that can put you in line for a job or a writing sale. These kinds of connections are incredibly valuable because they are what give your career a boost. The important thing to remember when meeting people who offer you these types of opportunities is to make the most of them, and to make sure you don’t misrepresent yourself to the person setting it up, because if you waste it or lie it could prevent the person from ever offering you another opportunity again.
In some ways, these are the most valuable networking connections you can make. The Teammate is someone who is going through the same stuff you are at the same time. They are someone you can bounce ideas off of, or trade writing with. They are on your side and you are mutually trying to help each other reach your goals. For writing, having people you can talk writing with is incredibly important, as is having people around who understand what you’re going through. If you are a teammate to someone, make sure the help isn’t going one way. If you find yourself asking too much and not doing anything in return, then try to find a balance.
Ultimately, networking is about broadening the connections you have in your industry, and maintaining those connections by trying to keep things mutually beneficial for all involved. Even if you can’t help someone the moment they help you, always try to keep them in mind and return the favor when you can. One of the most important elements of networking is that the people around you see that you are a part of the cycle of helping, and that you aren’t just a vacuum sucking up all the favors you can get without returning anything. People will quickly notice if you only ever seem to receive help, so the more you can be a part of the cycle the better.
Labor Day weekend. Many people headed for the mountains or the shore to spend one last long weekend to say goodbye to summer. It’s the last weekend of tourist season. Time to get back to the serious business called life. The kids go back to school and the adults head back to the daily grind of making a living.
Of course, writer’s don’t always get three day weekends or take vacations, because for writers, everything we do is an experience which can be drawn off of and written about.
Every place we visit and everything we do can be written about in some capacity. Every activity can be used in some capacity to fuel our writing habit. It may only be an idea that serves as a seed, which grows into story with so much nurturing. It might be the foundation for a how-to article. It could even be your next travel article.
I started out with gardening how-tos on e-How.com through demand studios. Most writers simply love to write. For me, writing is a way of life, my passion, perhaps even my obsession. When I can’t write, I feel lost, as if I no longer know who I am. This lesson was recently driven home to me when my computer crashed. I was out of a computer for about three weeks before I could get a new one, and in the interim, although I could not get it into a file, I went back to writing long hand. The ideas don’t stop coming just because I have no means to prepare them for publication.
For writers like myself, although life tries to make it about the money when the bills come due, it never really is. For me, writing is a labor of love and I can’t think of a better way to labor right through Labor Day. Can you?
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