Those Pesky Words: Is It This Word or That One?

Lan Lee at MCC

I was writing a sentence and it happened again. Ugh, one of those words. You know what I'm talking about. Those words that mean sort of the same thing but don't. 

Let's take lesser or fewer. These two words may be the most common duo of words incorrectly used, and not just by writers everywhere but grocery stores and big chain retail stores as well. How many of us have been shopping and didn't realize a certain sign was wrong? Which one of these signs is correct?

Many of you, especially this writer, would have chosen the sign containing the word less, because it's what we've seen for so many years growing up, and even still today. But the correct sign would be the sign containing the word fewer. How many times have you heard someone say that? Recalling memories of conversation with people, I have never heard anyone say 10 items or fewer, it has always been 10 items or less. So, here's the rule: use fewer for the things you can count and lesser, for things you can't. 
For instance:      
fewer cars        less exhaust
fewer people      less drama

www.chronicles.com

Moving on, let us look at the words farther or further. I myself have questioned which is the proper word usage in a particular sentence. They are the reason for this blog. These two words are similar in rule. Use farther for physical distance. For figurative and nonphysical distance use further.
Here are some examples:
The farther I drive the  further my pain is left behind.
The further I practice, the farther my kick will go.
Bottom line, The word farther is used for physical distance and all other distances, use further.

medellinbuz.com

Another set of words, that cause me to think twice is who or whom. They are both pronouns but identify with different parts of a sentence. For those of you who can remember the correct usage, kudos. For those of us who cannot, here is the rule and some examples:
Who/whom wrote this blog?
She/he wrote this blog, who is correct.
Who/whom should I take to the dance?
Should I take him/her to the dance, whom is correct.
The rule: the word who refers to the subject of the sentence and the whom refers to the object of the sentence. 
Here is a quick reference to remember:
who = subject    whom = object
who = he/she     whom = him/her
If you can replace the word who with he or she, use who, if you can replace the word whom with him or her use whom.

www.bkacontent.com

The most difficult for me, personally are the words affect and effect. The rule for the most part is: affect as a verb, is used to influence and effect as a noun, is used to impact or to change, but as you well know there are exceptions to the rule. Here are some examples:
My anger affected my feelings toward you. The effect was you broke your arm when I pushed you down the stairs. (Remember, this is just an example. I would never push anyone down stairs.;])
The possibility of you having poor grammer can affect your reader. Hopefully this blog will have a positive effect on your grammer.

Whew, I know, right? So many grammer rules, I can't remember them all, and it's okay if you don't. There are plenty of reference material out there, and I hope you find this as a helpful reference. What are the words that usually get you "tripped" up?

Be A Better Beta Reader Series: So, You Want to Be a Beta Reader...

A few weeks ago, I wrote about the different kinds of problematic beta readers you might find in your writing group. I realized afterward that not everyone knows what a beta reader is or, more importantly, how to be a GOOD beta reader. So this week, I'm taking a tiny step back to fill in those basics.

Why become a beta reader?

Support
Writing can be a lonely job. Beta reading is a way to show you respect what a writer is doing and want to see them succeed.

Reciprocation

In my experience, most beta readers are writers who trade manuscripts with fellow writers. Beta reading is an excellent way to make connection and build relationships within a writing community.

Use What You've Got

Your day job might not appreciate all those college English classes you took, your nose for typos, or the fact that can spot stilted dialogue from across the room, but my Twitter timeline is filled with authors looking for someone with just those talents!

Reading

"I can't spend the day with your crazy Aunt Millie. I've got to finish reading this." Be honest. Who among us wouldn't love a legitimate excuse to stay in and read?

What is a Beta Reader?

Simply put, a beta reader is someone who reads a finished manuscript prior to publishing and provides feedback to the author. Beta readers serve as a sample audience, helping the author step out of her own head and see her story from another perspective. Many common problems--flat characters, plot holes, inconsistencies, etc--are more easily spotted by fresh eyes.

There's more to beta reading than the ability to read and enjoy a good story, however. Beta readers must be able to look critically at a story and analyze exactly what it is that they like or dislike about it. To this end, a beta reader must be

• attentive to details
• knowledgeable about aspects of storytelling
• able to express themselves clearly

Beta Reader Basics:

Many people have written about this topic. I'll share some links to articles and posts I found most helpful. Here's what I've learned in my experiences as a writer and a beta reader:

Communicate clearly.
Make sure you understand exactly what kind of feedback the author needs at this point. Is this an early draft or is it about to be sent off to an agent? Is the author trying to nail down characterization and plot? Or is he looking for a line edit? Having a conversation about these things before you start reading can save you both time and frustration.

Set a reasonable deadline. Let the author know how long you think it will take you to get back to him. (Keep in mind that it will take longer to read critically than it does to read just for fun.) Once you've established a timeline, stick to it. Sending a manuscript out for beta reading is stressful. Don't make the author wait on pins and needles longer than necessary!

Write clear and descriptive comments. Explain your thought process whenever possible.

Respect the author's voice.
Remember, this is not your story; don't try to rewrite the story in your style. Instead, share your thoughts and feelings about the story and allow the author to decide how your responses will influence the story.

That's not to say you can't provide an example or give a suggestion now and then. Just remember that an author's voice is what makes their story unique.

Be honest.

First and foremost, it is your job to be honest. If you see something that isn't working, you must say something about it. Ignoring or sugarcoating problems to spare an author's feelings just sets them up for embarrassment. The agents she queries aren't going to rep her just to spare her feelings.

An author who is serious about being published will thank you for being completely honest. An author who only wants you to say nice things is wasting your time. That's what parents are for. :)

Be thoughtful.
There is a difference between giving an honest critique and tearing someone apart. Make sure that your comments are accurate and useful.

Remember to point out the good stuff. Not only does the occasional happy note make the rest of the critique easier to take, comparing what works to what doesn't work is extremely helpful.

Strong beta reading is built on analysis. Think about your own perspective and biases. Draw on your vast experience as a reader to make comparisons and draw conclusions. Don't just react to the story. Dig into your reactions.

Let it go.
Finally, you have to let it all go after you submit your critique. It is ultimately up to the author to accept or reject your comments. Don't take it personally.

Super Important Beta Reader Reminder:

A finished manuscript represents months, if not years, of an author's life. It is a labor of love and often represents sacrifice and struggle. It is vitally important to respect the author/beta reader relationship. Not sure what that means? Check out this post about the ethics of beta reading.

***

Helpful Links:

As promised, here are links to some of the other people who have written about beta reading. I found their posts helpful during my first beta read:

Corrine Jackson's How to Beta Read

Jami Gold's Three Tips for Being a Better Beta Reader

Diane Urban's How to Be a Great Beta Reader and Give Helpful Feedback

Have you found some excellent advice on the role of beta reader? Do you have experiences to share? Leave us a comment!

Be a Better Beta Reader Series: Nana Lovesitall and the rest of the Gang

One of my favorite things about being a writer is being part of a critique group. I love having a circle of people I can trust to set me straight when I’ve gone astray and pat me on the back on the rare occasion when it’s warranted.

As anyone who has participated in a critique group knows, you sometimes run into some interesting characters, and not all of them are equally beneficial to the writing process. Here are some of the characters I’ve come across (or have occasionally been … oops!) in the last few years and some thoughts on how to make the most of their feedback.

Let me be clear before I launch into discussing some of the less-than-stellar characters who you might find in a group -- I adore my critique partners and they have improved my writing ten-fold. These characters are stereotypes based on minor aspects of multiple people, including myself. None are digs at any one person.

*****

CHARACTER: Nana Lovesitall

Just look at that sweet face!

QUOTE: “You are the best writer! Really, sweetheart, this was the best story. I wouldn’t change a thing. You’re just amazing.”

DRAWBACKS: Nana rarely has any suggested changes to discuss, but she’s very enthusiastic and kind. Most of us want to believe that we’re doing a good job. It can be easy to ignore valuable (but maybe not so positive) critiques from other partners if there’s someone telling you that everything is perfect just the way it is. Unfortunately, even Nana’s praise falls short because it’s generally vague and generic.

BENEFITS: Everyone needs a cheerleader!

THE TRICK: To get the most from Nana’s critiques, compare them to the overall response of the whole group. If it seems like Nana is the only one who doesn’t have a problem, put her critique in a safe place and pull it out to soothe your bruised ego AFTER you’ve tackled the problems the other group members have pointed out.

*****

CHARACTER: One-note Willy

QUOTE: “I know I bring this up a lot, but I’d like to discuss your choice of setting for this story…”

DRAWBACKS: Willy seems to have tunnel vision when critiquing. I’ve known a few Willies. One could only talk about the length of the sentences within each story and their effect on the reading level of the piece. Another can’t avoid pointing out passive verbs. (Okay, that last one is me. When I am rushing, that’s pretty much all I see.)

BENEFITS: Through virtue of sheer repetition, One-note Willy generally knows what he’s talking about … when it comes to that one thing.

THE TRICK: I suspect that there is an element of Willy in all readers. We all have that one error that just leaps off the page at us. If you know which of your critique partners is most apt to notice repetition (or POV issues or plot holes or sloppy grammar) then you know which person to go to when you need help with that particular problem.

*****

CHARACTER: Bob the Bully

A total jerk.

QUOTE: “This is the worst description of a character I’ve ever read. You must not be very smart if that’s how you think people talk. Don’t quit your day job.”

DRAWBACKS: Bob is a jerk. His comments consist of personal attacks and unnecessarily aggressive opinions. Obviously, it’s hurtful to hear abusive comments. Even when you cognitively recognize that they are inappropriate and unhelpful, it’s difficult to avoid internalizing them.

BENEFITS: It’s good practice for when you’re a famous author and critics are tearing you apart in the New York Times?

THE TRICK: Honestly, it’s hard to deal with Bob. Best case, the rest of your group sticks up for you and he gets ousted. Worst case, you identify him as a bully and use his critiques to line the birdcage.

*****

*sigh*

CHARACTER: Sensitive Sally

QUOTE: “Ohhh, I had to stop reading your story after the first page. It was so violent!”

DRAWBACKS: Sally has a hard time with violence. And profanity. And sex. And soooo many other things you wonder how she manages to live in this modern world. Unfortunately, conflict has to come from somewhere and often that means anger, violence or sex, not necessarily in that order. If Sally can’t read your story, she can’t give you feedback. Worrying about what Sally will think might even cause you to self-censor.

BENEFITS: There are Sensitive Sallies out in the real world. If you want to end up on a best-sellers list, you’re going to have to understand a wide audience. Sally can give you perspective you might not have for yourself.

THE TRICK: Keep in mind that what Sally chooses to read or not read has no influence on what you must write or not write.

*****

Honestly, I can forgive this lady
for not reading my submission!

CHARACTER: Skimming Kimmy

QUOTE: “Sorry I’m late! The traffic was horrible and I’ve had SUCH a busy week!”

DRAWBACKS: Kimmy is too busy to read the submissions and it shows in her generic feedback. Generic feedback is not helpful.

BENEFITS: I’ve been thinking about this for some time and I just don’t see a benefit to this kind of beta-reader. I guess maybe, like Silent Sam below, you don’t have to feel bad if you run out of time before you critique her submission.

THE TRICK: Don’t expect much. Maybe you’ll be pleasantly surprised one day? I dunno. These folks eventually stop coming to the group.

*****

CHARACTER: Silent Sam

QUOTE: “ … “

DRAWBACKS: Sam is really only in the group because he needs beta readers for his own work. He might make a couple of half-hearted notes on your story, but usually doesn’t have much to say. It can be frustrating to put time and effort into critiquing someone else’s work knowing that they aren’t going to return the favor.

BENEFITS: When you’re running short on time, you don’t have to feel bad about skipping Sam’s stuff.

THE TRICK: All of the groups I’ve been in have had rules about this kind of thing. Silent Sams tend to weed themselves out of the group once they realize they won’t be allowed to submit if they aren’t going to reciprocate. Make sure your group has clearly established participation expectations.

*****

CHARACTER: Tammy the Former Teacher 

"So, you see ... "

(yes, I used to be a teacher ... why do you ask?)

QUOTE: *launches into 10 minute explanation of the difference between there and they’re because you made a typo.*

DRAWBACKS: Tammy treats everyone as though they’ve only just learned to hold a pencil. She assumes that all mistakes come from lack of understanding and she’s hell-bent on helping everyone learn. She tends to drone on and each time a new member joins, you’ll get to hear the same old lectures all over again.

BENEFITS: Sometimes Tammy manages to share information you don’t already know. Learning is good! Also, you can get some writing in while she’s talking … and talking … and talking.

THE TRICK: It’s helpful to have a timer going during critiques to keep everyone, not just Tammy, from rambling on too long. Most of the time when I come across a Tammy, I just make strong eye contact, smile and nod, and thank her for her information. She means well.

*****

Soooo clueless.

CHARACTER: Clueless Clyde

QUOTE: “Wait … so Biscuit was the dog? Ooooohhhh. I totally didn’t get that.”

DRAWBACKS: Clyde gives such inane feedback and so clearly has missed the whole point of your story that you end up biting holes in your tongue to keep from shouting “Of course Biscuit is the dog, you ninny! The whole story hinges around this dog!”

BENEFITS: Sadly, there are a lot of Clueless Clydes in the world. The Clyde in your group can help you identify the scenes they are likely to misunderstand or the plot points they are going to miss.

THE TRICK: Like a canary in a coal mine, Clyde can give early warning that something isn’t working for your readers. Also like a canary, you don’t want to rely too strongly on Clyde’s advice for much else. He’s not going to have good suggestions on how to develop your main character, Biscuit, if he thought she was the daughter of the divorcing couple instead of their dog.

*****

Do you recognize some of your critique partners in the characters I’ve described? Do you recognize yourself? Have I missed a character you interact with regularly? Tell me about them in the comments! 

Prompting Ideas, pt 2

Last week, I wrote about the different kinds of prompts that I use to inspire my writing. This week, I want to talk about the "Story Starter" rut. It's easy to fall into the habit of using prompts to start a writing project. I want to explore some of the other ways prompts can help us grow as writers.

Don’t get me wrong, I love to use prompts to start my story. It’s just that writing prompts are about so much more than that! Here are a few of the ways I use prompts to improve my writing skills and practices:

* * * * *

Discipline

My writing routine is continuously challenged. I am a notorious procrastinator. Family obligations, appointments and the normal chaos of life often eat up my writing time, my motivation, or worse, my inspiration.

I’ve found that starting every day* with a fifteen minute writing prompt can help set the tone for your writing time. Then, on those days when the universe seems to conspire against me, at least I can say I wrote something!

*Full disclosure: This is much easier in theory than practice! I’ve yet to truly succeed at this, but I keep trying!

Story Elements

Prompts don’t always have to result in a whole story. Improvement comes from practice! (I talk more about my struggles with that here.) I like to start with a particular skill in mind—“This morning, I’m going to write strong dialogue.”—and then use a timed prompt to create a practice session for that skill. This can strengthen character development, world building, sensory description, vocabulary or any of the many different elements that go into creating amazing stories.

Sometimes, I use the same prompt to practice multiple story elements over time. Other times, I’ll focus on one element across several prompts. Bonus Fun: I can use the writing samples from my practice sessions to improve my revision skills! 

No More Spiders! (AKA the “But Why?” method)

Beginnings are easy for me, but my endings often feel as though they’re fizzling out like fireworks in a downpour. I am a huge Stephen King fan, and I’ve long often suspected that he knows my pain. “Uhmmm… I know! A giant spider attacks!”

I recently read an article about the many ways writing your ending first is helpful. I want to practice starting with the resolution of my story and working my way back to the beginning. I’m imaging it will feel a little like talking to a toddler:

“The princess returned to her castle, smarter and stronger.”
“But, why?”
“Because she defeated the evil wizard.”
“But, why?”
“Because he wanted to imprison all the fairies.”
“But, why?”

And so on … 

Flexibility

The best thing about prompts is that I can make them work for me. They can provide structure when my ideas are running wild, or they can force me to get crazy to break out of a rut. I’m a natural “pantser” (writing by the seat of my pants), so it’s good practice for me to use prompts that require me to develop a beginning, middle and end. I have friends who are excellent “plotters” (planning the whole story ahead of time). They benefit from prompts that force them to jump right into the writing. There are so many types of prompts available, I can always find one that’s perfect for any writing task.

Cooperative Writing

Prompts aren’t just for solo writing, either. I like to participate in parallel writing sessions with other writers. We work simultaneously on the same prompt and then share our finished products with one another. It’s fun to see what similarities and differences our passages contain. Knowing that everyone is using the same starting point challenges me to dig deeper instead of using my first cliched thought. 

* * * * *

I’m sure there are many ways to use writing prompts that I haven’t mentioned or even thought about. Leave a comment below to share how writing prompts have improved your writing.

Prompting Ideas, pt 1

I'm pretty sure the question most commonly asked of writers is "Where do you get your ideas?" This week, I want to talk about types of writing prompts. Next week, I will discuss ways to use prompts to improve your writing. My stories tend to be realistic fiction, which makes it easy to come up with ideas (they play out around me all day, every day), but much harder to make those ideas fresh and unique.

I've found that adding an element of randomness to my thinking allows my writer mind to jump to new places. I have all kinds of characters and settings swirling around in my own brain, but they're all doing the same old things they've always done. With writing prompts, I can push them to try new things.

Here are a few of my favorite ways to jump-start my creativity:

- - - - -

Story Cubes

As an elementary school teacher, I was a big fan of Rory's Story Cubes, published by Gamewright*. When I left the classroom, I kept my story cube collection to use with my own writing.

Each side of each cube has a unique image. I have the Original collection (nouns) and the Action collection (verbs). I usually roll 2 or 3 from each set.

If you'd rather have a bit more structure, you can roll a die specifically for each story element - protagonist, antagonist, setting, conflict, resolution, etc. Sometimes limiting the options forces your brain to get more creative.

Or, if you're the crafty type, check out this blog post on how to make your own story cubes!

- - - - -

Text a Friend

Sometimes when I'm stuck for ideas, I'll text friends and family. I ask each person for a different suggestion - "Mom, name an animal, please!" "Nikki, give me a place!" - and then compile their answers into a single storyline. Speaking from experience, it's a good idea to let your muses know what's going on the first time so you don't get several variations of "Huh?" as your responses.

- - - - -

Dixit/Mysterium cards

My husband and I recently started stealing cards from our Dixit and Mysterium games for inspiration. The artwork in these games is intentionally vague and chaotic. Dixit has more whimsical images, while Mysterium runs a little darker.

We pull three or four cards from each game. From this random selection, we individually create an outline for a story, either stringing together a beginning-middle-end combination or identifying a protagonist, antagonist/conflict, and resolution. Once we both have an idea, we go for a walk and discuss.

These cards inspired a story about a bookish girl with good
intentions who has to choose whether to remain among her elite
crowd or give up her life of leisure to join a real revolution.

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Idea Generators

There is no shortage of random idea generators available thanks to the wonders of the world wide web. Here are just a few of the idea generators I've found:

• My personal favorites are the prompts embedded within DavidRM Software's The Journal**, and that’s not just because Writing Prompts 2 and 3 were created by my own Dear Hubby. This software has prompts for prose, poetry, journaling, memoir writing, and more which can be purchased as individual add-ons or in the Writer’s Edition pack.
• Always Write is the classroom webpage maintained by a Nevada writing teacher, Mr. Corbett Harrison, who implements writing notebooks as part of his curriculum. There's lots of interesting information here (makes me wish I still had a classroom so I could do this with my students!), including an idea generator.
• Springhole.net has a collection of random generators, many of which target specific genres (fantasy, sci-fi, fairy tale, romance, etc). I particularly like the ones that give suggestions on how to add a surprise or twist to your story. 
• Writing Exercises has generators for character, plot, dialogue, titles, and other story elements. It also has exercises to use to develop your skills with different elements of storytelling.
• WritersDigest.com has a prompt page with new prompts added regularly. Many of these provide a quick set-up and ask you to write the "and then ..." part.
• Reddit has a Writing Prompts section. As with anything on Reddit, YMMV and you should keep a careful eye out for troll holes.
• ThinkWritten.com has accumulated 365 writing prompts for your daily writing pleasure. These tend to be pretty basic and open-ended, allowing for maximum personalization.

- - - - - 

Do you have a great way to kick-start your writer mind? 

Is there an idea generator you use on a regular basis? Share in the comments!

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* Gamewright is responsible for many of my favorite games - Qwixx, Rolling America, Sushi Go, Forbidden Island and Forbidden Desert. They know how to make a game smart and fun at the same time!

** The Journal is great for all kinds of other things as well. I've used it to track health and diet info, create menus, and organize my calendar and to-do lists. I strongly recommend checking it out.

Don't Let Fear of Participation Keep You on the Sidelines

I'm still surprised at the eclectic personalities I encounter at classes and conferences. Some stand out and some are forgettable because they are too afraid to participate.

I learned a lesson years ago in band class--yes, I played flute and sousaphone in the marching band, go Highlanders! I remember the scene so vividly; the way the band hall smelled of stale spit and old carpet mixed with Drakkar Noir and Sun Ripened Raspberry, staples of the mid 90's gym locker; my climb to the mountainous third tier back row to join the tuba section; the two other tuba players who'd been to State and come back with ribbons flowing and me, fresh from the practice rooms just learning my scales. 

When the band director asked me to play, I could have simply shared what I learned, been crappy as I knew I would be next to the others in my section, and no one would have given it a second thought--they'd been newbies at some point, too. Instead, I let my insecurities get the better of me and I refused to play the stupid scale. All heads in the room turned towards me, exactly what I wanted to avoid but had caused by my lack of participation. The more the teacher cajoled the more I refused. I earned a big old F that day.

My lesson was this-suck it up and get in there! People are generally nice and you (meaning me) will have a better time and learn more with interaction.

This was classic fear of failure. Rather than making a mistake and letting others know of my possible failures, I chose to let them assume I didn't know anything. I've come a long way since then. Perhaps its because of maturity, gained confidence, or it could be because of the way I manage my class. I expect my students to make mistakes. I expect them to share all ideas-even if they are crazy. You never know when the crazy idea will be the right idea....just at a later time. I want my kids to participate and so I've learned to create a classroom atmosphere in which this is the expectation and where not being perfect is okay. I totally agree with the suggestions for getting kids to participate in this article.

Adults need encouragement as well and lucky for us our fellow authors are out there waiting to give out pats on the back. Our writing classes are built for risk taking and reaping the rewards of participation. All you have to do is believe you have something to contribute-an idea, a skill, a new point of view. By even showing up at a class you have already announced your intentions to improve your craft. People admire that commitment. You might as well just speak your mind while you are there.

If you are giving a class and want to encourage participation, here is a short list of tactics to try:

1. Keep things positive. No one like to speak up if they feel they might be shot down.
2. Give time for others to talk. People may shy away if they feel rushed.
3. Encourage creative thinking. Sometimes we stray from the norm and those who do should still be able to share their thoughts.
4. Keep things rolling and maybe provide an outline of the class. As a participant, I might not feel confident about all the aspects of a class---after all, I am there to learn--but I might be brave enough to share my knowledge about a certain part of the overall topic.
5. Give praise, even if  the answer is 'wrong'. Remember the old rule about giving a compliment, critique and another compliment. Everyone is doing something well.
6. Use visuals. Personally, I learn better if I can see and hear and DO while taking a class.
7. Try the old teacher trick of wait time. After you ask a question or call for a volunteer, count to ten. This lets people think about what they want to say.
8. Create a relationships with your class. Let them know why you should be trusted--share your expertise and act like someone who wants to be there. Your attitude will influence theirs.

I chose to face my fears head on by jumping into writing and classes and conferences. I started a    writing group and placed my learning in a positive atmosphere. The more I attended the better I felt and the more I participated. Not everyone can do that. It is okay to ease into conquering a fear. Tips and techniques abound and getting started in any way will clue you in to the benefits of become a participant and not a wallflower. 

The Fact in the Fiction: Historical People as Characters

It all started when I did my son's homework.  Hang on, let me explain! His job was to pick a famous leader from his world history class and write a one page paper listing this person's biographical info and the strongest arguments to be made about the person's leadership. Then, my son would bring his arguments to class and battle it out 'Deadliest Warrior' style against another student's leader.

To help our son prep, my husband and I each took a person from the list and completed the assignment so we could have a family battle letting our son practice his offense and defense. I chose Hadrian, my husband picked Constantine, and our son picked Alexander the Great.

I wish there had been a fly on the wall with a microphone or video camera to witness our battle and record it for posterity. We sounded like geniuses and I was really proud of my son's grasp of world history.

Well, this led me to think about taking my research and using it for a short story about Hadrian's visit to Great Britain and the creation of Lady Britannia.

One fact I learned about Hadrian was his efforts to bring back what he considered classical Greek ideals. Can you think of another time in more recent history when Greek ideals were brought back? The Renaissance.

Maybe all this was on my mind when I wrote a piece of flash fiction based on a prompt from a song lyric:

"You made a rebel of a careless man's careful daughter." ~Taylor Swift

He was exotic. Beautiful. The colors of his body, dark skin, black hair, bright blue eyes, were a beacon. From the dais I stared across the ballroom before I could remember the company I kept. Next to me, father enjoyed his imported wine and the attention of a courtesan. I should have stayed put, but when he looked at me, caught my stare, and put a finger to his lips as if he would keep my imprudence a secret, I knew I had to find a way to him. To find out who this stranger was.

To be honest, I've been reading a lot of romances lately and I was going for a French ballroomy feel. I liked this piece and thought it could be the start of a larger story. Now, I've read enough historical fiction to have a general gist of courtly rules and such, but not enough to craft a whole setting and characters, so I set out to find out more--starting with the roles of women during the Renaissance. It was so much fun (I know, what a nerd) that I sent out a Tweet about it.

Now I have lots of great facts, timelines, and interesting people in my notes. The big surprise is that I am completely changing my character. The love struck girl is gone, replaced by the illegitimate son of Henry II of France, who was born to a mistress just after Henry became the Dauphin. He'll still have a love interest, and I am sticking to a real historical timeline and using a real treaty as a basis for the story. This son is a character I am making up, but Henri II is not.

My question now is, how much liberty can I take with characterization of the real historical people?

I've dug around a bit today and found out that the answer really depends on what the purpose of the story is and when it takes place.

Here are a few guidelines I plan to take into consideration from now on:

• Is your character based on a living person? There is a whole set of laws covering the use of a living person's life in your work. No matter how you fictionalize him or her, you leave yourself open to trouble. Ever hear of the book The Help? The author got caught up in a lawsuit by the real life version of her cook/nanny character.

• How well known is your character? You may find yourself trapped by the fame of your character and without room for making him someone we want to read about--our concept of the person might be too rigid. Also, the things he did or the people he knew can't be as easily manipulated as a fully fictional character can be. The flip side is that if you pick someone well known, we already know your character's name and your audience will be more likely to pick up your story.

• Use historical folks as backdrops instead. Because of the previous pitfalls, it is often easier to use real people as a sort of biological landmark, a fleshy setting, in your writing. Because readers have previous knowledge of a person and that person's time and place, use these to your advantage. Create a new character and let the historical people provide challenges or help. 

• Has the person been dead a long time? If I use Hadrian as a character, I have a lot of leeway because he has been gone so long he is nearly a myth. There is a record of where he went and the people who were closest to him, but the real words and the 'truths' are long lost. Using Henri II is similar, yet his life occurred more recently. Therefore, he is well studied and I may have to be more carefully in my treatment of him. In both cases the defamation laws protect me.

• What is the purpose of your writing? Are you like me? Simply interested in a time period and have a set of actions which could have happened to a certain historical person? Will your take on the character twist the readers' understanding of the real person? Are you using his or her life to make a statement of some sort? It is advised to use caution, because the reviews can be scathing.

A Few Theories About Finding Creative Inspiration Through Music

Ever heard a song and thought, that could be part of my story soundtrack? It happens to me a lot. Shazam and I are very good friends.

I was intrigued as to how music helps me unleash my creative side--why music can inspire me. So, I did a little research and this is what I found...

Mozart Effect

The first thing I learned about was the Mozart Effect which claims listening to certain Mozart pieces can enhance our brain functions by allowing the right and left brain to work in harmony. The pieces, at a steady 60 beats per minute, help to regulate heartbeats and moods. Cool information, but not really what I was hoping for.

You've probably tried studying to classical music because you heard it helps you retain information. I'd tried this too, a long time ago in the far distance experience of high school, but I did not know it had a specific name.

Biology of Music

Trying another search, I came across studies by the neuroscientist Anne Blood, who found links between music and the body's reaction to it. It's a bit complicated and I could not say it better than her, so here is a bit from her abstract.

"Cerebral blood flow changes were measured in response to subject-selected music that elicited the highly pleasurable experience of “shivers-down-the-spine” or “chills.” Subjective reports of chills were accompanied by changes in heart rate, electromyogram, and respiration. As intensity of these chills increased, cerebral blood flow increases and decreases were observed in brain regions thought to be involved in reward/motivation, emotion, and arousal, including ventral striatum, midbrain, amygdala, orbitofrontal cortex, and ventral medial prefrontal cortex....This finding links music with biologically relevant, survival-related stimuli via their common recruitment of brain circuitry involved in pleasure and reward."

At this point I felt I was on the right track, learning more about why certain songs made me feel happy and therefore more likely to listen to and pick for my playlists. Then I came across this gem.

Developing ESP

Heck, for all I know it could be true. The ability of ESP is housed in the prefrontal cortex, and if music effects the prefrontal cortex, can you listen to the 'right' kind of music to increase ESP skills? I may not be totally on-board with this theory, but I think it may make an appearance in my new

Sci-Fi manuscript.

Thoroughly sidetracked, and inspired by an article about music, not music itself, I got back to work.

Humans are Wired for Music

Thank you, MIT, for getting me back on track. My big wows from the video below are...

1) It mentions the brain and the mind. Last year, during a unit on the brain with my students, I posed the question, "Is the brain the same as the mind?" We held a lot of discussions and ultimately decided, no, they are not the same. Which leads to ...

2) Are we born with the appreciation for music or does it develop over time? Do we respond because of the neural connections, or are the neural connections strengthened by exposure and use. Is it our brain that craves music or our mind? I'll leave you to ponder.

Things were getting a little technical, so I started over, looking for how music effects creativity.

Mind-Wandering Mode

Either you are paying close attention to your task with your brain fully engaged, or you're not and your thoughts begin to wander. It is in this state of relaxation that your creativity becomes activated. A few more researchers found that:

"You can stay in mind-wandering mode for a long time and still feel recharged and inspired to come up with imaginative ideas. You get into this mode by relaxing, letting go of the problem or task at hand, and voila — creativity ensues."

Apparently, the big key to why I pick songs is that I enjoy them. The tempos and rhythms, the instruments, the vocal sounds... all please me and therefore I relax and I can go into the right mode. Writing mode.

The Power of Community

The type-A perfectionist aspect of my personality is a double-edged sword when it comes to writing. I can create the perfect spreadsheet on how to progress through a project, but once that's done everything comes to a screeching halt.

When faced with beginning a task, especially one requiring actual effort, my brain immediately looks around for some excuse not to start.

"Time to write, Brain."

"Look at those dishes that need washing!"

Recently I met another writer. As part of our getting-to-know-you conversation, she admitted, "No, I don't have any poetry published yet." Then she interrupted me to add, "But only because I haven't tried."

She and I are victims of the same flawed thinking I often saw in my former students: it's better to fail through controlled avoidance than to discover that our best work just isn't good enough.

One of the best ways I've found to combat this kind of fear-based paralysis is to communicate with other writers. I have experimented with several different kinds of writing groups in the past year. While each has had a different format and focus, they've all had one thing in common. They all challenge me to risk real failure.

One-on-One Meetings

One form of community is to set up a regular one-on-one meeting with another writer in your area. I have an uncle who has been writing in one form or another -- music, newspaper, novel, screenplay, etc. -- for most of his life. I respect his talent and I value his opinion. Whenever I get the chance, I like to take him to his favorite coffee shop, buy him a half-caff latte, and pick his brain. He's helped me explore my personal motivation for writing and, in sharing his writing habits and routines, helped me begin to develop my own.

It has proved helpful to have to look my uncle in the eye and explain why I haven't written a single word all week long. On one hand, he's in a position of familial authority, and I don't want to disappoint him. On the other, he has known me my whole life and it's safe to talk to him about my personal demons. He's got to love me regardless of how crazy I sound!

The More the Merrier

If you're not up for one-on-one time, there are many ways to find a writing group to join. Schools often have writing clubs that meet regularly. Announcement boards at gyms, coffee shops or places of worship often have notices about clubs that are looking for new members. I've found many of my new writing buddies through the wonders of Google and the Meetup.com website.

Writing groups come in all sizes and styles. There are groups dedicated to a single genre and groups that welcome everything from screenwriting to poetry. Some groups meet multiple times a week, while others meet only once a month. Whether you're looking for writing prompts or critique, hand holding or a kick in the butt, there is a group out there to meet that need.

Small Groups

I recently became part of a small group of women writers. There are many things I enjoy about having a small, consistent group like this. I like the intimacy of seeing the same faces each time we meet. It's allowed me to start getting to know them not just as authors, but also as friends. Everyone gets equal opportunity to share their work and present their thoughts each time we meet -- something that isn't always possible with larger groups.

Larger Groups

I am also part of a larger, more fluid group that meets twice a week. I never know who is going to be there (although there are a few dedicated regulars), so I never know what unique perspective or new bit of expertise I'm going to get. The frequency with which this group meets gives us time to broaden our focus beyond critique. Some meetings are all about writing -- speed writing based on ten minute prompts or committing a two-hour block of time entirely to writing silently. Others are spent discussing things we've read and how they influence and inspire us. My favorite meetings are the ones dedicated to the rambling conversation that happens when you put a bunch of writers in a room together.

Find Your Group!

Being part of a writing group takes time and energy. It means putting on clean clothes and leaving the house. It requires courage, strength, and open-mindedness. These are a small price to pay for the accountability, camaraderie and learning opportunities that come from having a community, if you ask me.

5 Tips for Magical World Building

I always have this nagging feeling I can do more, can change just one element of a story and all the pieces will fall in line.

So...when I saw a class for magical world building held by my professional organization, Writers' League of Texas, and taught by Katherine Catmull, I jumped on it. Frugal as I am, I found this class important enough to pay the couple bucks for late registration.



Here are the 5 best tips I learned about creating a magical world:

1. Know your genre. Are you writing fantasy or sci-fi? These can be broken into categories.

• Hard sci-fi, think Star Trek (based on the science)
• Soft sci-fi, think Back to the Future (based on the characters, but uses science) more
• High fantasy, think Lord of the Rings (totally new world)
• Low fantasy, think Harry Potter (set in our recognizable world with paranormal elements)

2. Grow your setting. In order to create my setting, which I would categorize as low fantasy, I needed to learn more about the mythology I wanted to use and the real places I wanted my characters to visit. I needed seeds. Once I learned more about what I was working with, I was able to let my ideas grow from the seeds-this way my mythology was correct and I could change it in believable ways. My realistic settings also ring true to readers thus increasing their engagement in the story.

3. Avoid cliches and do not become a Mary Sue. We know werewolves and vampires, witches and dragons, and a whole host of other creatures. When creating your characters give them a life and a wit of their own. Make your readers say, "That is the nicest Harpy!" It will keep them interested in the story because you are not giving them more of the same old same old.

I had never heard of a Mary Sue before the class. Basically, Mary Sues are the fantasy version of you as a character, a way for you to be present on the page and vanquishing your own enemies disguised as demons. Mary Sues can become rigid and flat characters because they are stuck in our own heads and we have trouble letting them grow.

4. Everybody needs rules. As the author, you are in charge. Whatever rules you set up for your characters and setting, be sure to follow through on them. Be consistent.

• The sun never sets. Do not let one of your characters enjoy a sunrise.
• There is not enough water-sensory details should reflect this. A fine dust tickled his nose...
• The Big Bad Guy needs to eat jalapenos every three days to fuel his badassery. Keep him well stocked in peppers.
• Good Girl's left leg was crippled in at accident at the age of 13-any flashbacks better hold true to this age.

I make a small spreadsheet for myself and refer back to it often. Think of these elements as your children-they better have a darn good reason to throw a kink in your plan. 

5. World view is point of view. In my notes from class I wrote, "world view is what you know, story view is what the characters know, the reader falls in-between." As you craft your world, think about how much you want the characters and the reader to know. Is your character a 'native' who knows all the rules and therefore nothing seems strange or out of place to them, or is your character a 'tourist' who learns the rules as he goes? 

Writers as Producers and Consumers (Infographic)

Newbie Guide to the DFW Writers' Conference

I attended the DFW Writers' Conference over the weekend of April 23-24. Having never gone to a writing conference (or a gathering of more than ten writers at a time), I was nervous. Not only did I survive my foray into the world of other writers, I came out with a number of new friends, a wealth of new knowledge, and an addiction to surrounding myself with the people of "my tribe". Here are a few things I wish I had known in advance and which I plan to remember for the future.

Appearance

Dressing up for events terrifies me. I have lousy fashion sense and I feel anxious that others are judging my by what I'm wearing. While I'm sure that happens way less often than the voices in my head suggest, it is true that your clothes are a part of your first impression, and events like this are all about the first impression.

* Aim for business casual with a twist of you.

You want to look professional and competent (especially if you're talking to a potential publisher or agent), but you also want to showcase the best of what makes you unique.

* Protect your feet.

You will spend a lot of your time on your feet in line, traveling from one session to another, or schmoozing at the cocktail hour. Wear something super comfortable and functional for your daytime hours. Save the fancy dress shoes for the evening events.

* Be pleasantly memorable.

One of my favorite presenters, Tex Thompson (@tex_maam on Twitter) always wore a red shirt and cowboy hat. A few attendees (myself included) had brightly colored hair. Standing out from the crowd in a small way makes it easier for everyone - new friends, potential agents, etc - to remember you.

Note: I added the word pleasantly for a good reason. You do NOT want people to think "Oh, there's that gimmicky, obnoxious guy" and head the other way when they see you coming. You also don't want them to remember you as the person with the really nasty breath or the overpowering body odor. Stand out in a positive way.

Socializing

This is key. You must interact with the other attendees. Yes, I know you're an introvert. Yes, I know you're afraid you'll say something dumb. Nevertheless, conferences are about making the kinds of connections that will open doors for you in the future.

* Introduce yourself to new people.

Walk up, extend your hand, shake firmly, and tell them your name. It sounds so simple, but it's the hardest thing for me to do. Fortunately, the folks at DFWCon were some of the friendliest, most welcoming people I've met.

Watch for someone who looks as unsure as you feel. That person knows how you feel and is probably trying to work up the nerve to talk to someone themselves. You can practice together!

Have a follow-up question in mind. I heard "So, what do you write?" dozens of times over the weekend. Nothing pulls a writer out of their shell like asking them about their relationship with words. Other good follow up questions: "Read any good books lately?" and "Have you been to many conferences?"

* Utilize those business cards.

Ask people for their business cards. You will use these later (see "After the Conference") to solidify your new connections. Bring your own cards and keep some on you at all times. Your card should mention your name, email and social media information. You may want to include info about your genre or special accolades as well. You do not necessarily need your phone or address on these cards.

* Relax. (But not too much.)

I observed many people (myself included) using alcohol as a social lubricant. If a drink helps you relax and act like yourself, go for it. Just remember that you never know when you'll bump into someone important or influential. Keep your wits about you!

The Pros

It is possible that you will rub elbows with influential people. Conferences are where authors, agents, editors, and publishers network, too. Some of them might even be there looking for exactly the kind of writing you have to offer.

* Pros are human beings just like you and me.

Although they're much more familiar with the conference circuit and have established relationships with the people they see regularly, agents and editors are just people. They're unlikely to bite or shout. They're well-versed in talking to nervous authors. Don't be intimidated.

* Wait for them to ask.

You should ask for business cards from other writers and offer yours in return, but it's best to wait for agents to ask. The same goes for sample pages or manuscripts. You don't need to carry your stories or novel with you. If you find someone who is interested in seeing your work, they will let you know how to get it to them. That said, if you plan to participate in pitch sessions, you might want to have your first chapters available.

* Know when to back off.

Be cool. Agents and editors are constantly asked for validation and attention. Make sure you treat them like actual people instead of a means to an end. Cultivate friendly relationships with everyone you meet and the pros are likely to hear about it.

Be appropriate. If it's obvious that someone needs some personal space -- they're on the phone, in the bathroom, or tucked away in a quiet corner with their eyes closed -- leave them alone. No matter how awesome your writing is, they're not going to want to work with you if you piss them off.

Have a Plan

It is not physically, emotionally or temporally possible to experience everything at a conference. Having a tentative schedule planned out can help you use your time and energy effectively.

* Be familiar with the offerings/format of the conference.

Vendor halls. Lectures. Interactive classes. Pitch sessions. Keynote speeches. Open mic sessions. What are you looking for at this time? What will help you grow most as a writer? Be sure you are familiar with what is available at your conference.

Read about the classes being offered. If you know ahead of time which ones you are most interested in seeing and know where they are located, you will save yourself time and anxiety.

* Find a map of the venue.

Although the venue for DFWCon was very manageable, it seems that it's constantly growing. There are many conferences that take up multiple floors of large halls. Knowing the basic layout of the land -- especially exits and bathrooms -- makes it easier to get where you need to be in a timely manner.

* Stay flexible.

Be prepared to veer from your plan. Sometimes sessions get rearranged at the last minute. Sometimes you discover a new favorite speaker (Hint: take ANY session hosted by Tex Thompson, AKA @Tex_maam!) or realize a particular presenter just isn't right for you. It's okay to change things up.

Self-care

You cannot enjoy the conference if you are too tired, stressed or hung-over after the pre-conference mixer. Take care of your body and your mind so that you can maximize your experience.

* Sleep.

It will be tempting to stay up until all hours chatting with friends, rehearsing your pitch, or reading the amazing book of poetry you just discovered. Remember, classes generally start early in the morning and coffee can only do so much. Get some sleep at night and maybe even schedule in a brief nap or quiet time so you are refreshed for the evening receptions.

* Eat. Hydrate.

Stop talking long enough to eat something, preferably something healthy. Your body and brain will thank you. DFWCon made this easy by provided excellent lunches both days.

Drink water. Yes, you can mainline coffee or tea or soda to keep your energy level up, but make sure you're drinking some good, old-fashioned H2O as well.

* Take a break.

You may find yourself overwhelmed by the noise and excitement. Find a quiet corner. Take a few deep breaths. Close your eyes and go to your happy place for a minute. Check Facebook for pictures of your nephew or tweet about how much fun you're having (don't forget the #hashtag!). If necessary, you can even head back to your hotel room for a bit. The conference will still be there when you get back.

Get Involved

One of the hardest things about being the "new kid" at a conference is feeling as though you don't belong. Overcome this by making sure you do belong!

* Participate in associated contests.

DFWCon sponsors DL Hammons' (@DL_H) writing contest, Write Club, during the weeks leading up to the conference. They also had a teen writing track that included its own contest. These activities provide exposure and give writers a chance to interact before meeting face to face. (Read about my experience with Write Club 2016 here!)

* Join in activities.

The Pre-conference mixer hosted by Kimmie Easley (@KimmieAnnWrites) and Sarah Bale (@Sarah_OKC) was great for meeting people. I felt much more at ease during the first day of the conference because there were already friendly faces in the crowd. Interactive sessions like the Heroes and Villians sessions or panel discussions encouraged teamwork and communication. Pitch sessions with agents gave one-on-one time with people who can take your writing to the next level. Sponsored meals are a chance to network and may include games like the Gong Show, during which a panel of agents hear first pages submitted anonymously by participants and give their feedback on what worked and what didn't (GONG!) Step outside your comfort zone and force yourself to take part in at least a few of these terrific opportunities.

* Hang out.

Evening is when you get to grow those new relationships. Once you've moved beyond the "so what do you write?" stage, there are plenty of things to do with your new friends. Gather a group to check out a local bar or restaurant. Meet up in the hotel lobby to continue that in-depth conversation. Or maybe you can channel some of the inspiration of the day to host a speed writing session in a nearby coffee shop.

After the Conference

Hopefully, you will have a bunch of new information to process and several new contacts to cultivate. Maybe you even connected with an agent who wants to see your work. Take a day to rest and get yourself back into your normal routine, but don't forget your post-conference tasks!

* Tweet, email or facebook those new friends.

You're not going to be lifetime BFFs with everyone you talk to at the conference, but it's good to establish a line of communication. You never know where your next opportunity is hiding. Let your new friends know you remember them and they'll be more likely to remember you.

* Follow through on any commitments you made.

With hard work and a bit of luck, you may have a potential agent waiting to see your first chapters. Or you may have agreed to exchange beta reading with a new friend. Whatever you promised, make sure you get it done promptly. Bolster your amazing writing by developing a reputation for timeliness and professionalism.

* Apply all that new knowledge.

Get to work! Take all the things you've learned and make them a part of your writing! If you're like me, you'll leave the conference feeling inspired and motivated. Put all that energy to good use.

***

Hopefully, that answers some of the questions you might have about attending your first DFW Writers Conference! If you have other questions, ask in the comments and if I don't know the answer, I'll try to find someone who does.

Interested in joining me next year? Check out the DFW Writers Conference website for relevant information. If you live in the Dallas-Fort Worth area and are looking for a writing group, you might also want to look into the DFW Writers Workshop.