P. N. Elrod Offers Critique

Picture of P. N. Elrod's dog Fuzzy.
P. N. Elrod’s dog Fuzzy.

That’s right, P. N. Elrod the multi-talented author of The Vampire Files urban fantasy series (among many other books and genres) is offering critiques.

This isn’t something she does lightly, and this is a rare opportunity to have a sample of your writing critiqued by a pro.

Elrod is offering critiques to help pay the bills for her miracle dog Fuzzy; that’s Fuzzy in the picture. Fuzzy’s medical bills are in the triple digits. P. N. Elrod is offering critiques to help pay them down.

Here are P. N. Elrod’s terms for a critique.  They’re reasonable, and yes, affordable for even the frugal. She’s also put up some items—Doctor Who Goodies, and original cover art painting—for sale in P. N. Elrod’s Garage Sale (scroll all the way to the bottom to read Fuzzy’s story).

Even if it’s not for you, if you have writerly friends who might benefit from the knowledge of a working writing professional, please spread the word!

Improv Writing

Welcome, AWers! Are you looking for a terrific way to inspire your imagination and make writing fresh and fun again? This week’s guest post by Eldon Hughes offers a creative approach that’s worked for him, maybe it’ll give you a fresh path to follow, as well! — Mac

Guest Post by Eldon Hughes

Improv writing.

Does it work?  I hope so.  C. H. Valentino and I have written two books, so far, this way.

The first one, Poison and Wine, came out in March and is available from the usual online places. Amazon – Nook (print and iBooks coming soon.)

It wasn’t planned that way. It was just a writing exercise that became a story and then grew a world of its own. But isn’t that how the best stories work?

“It’s like taking your imagination ice skating, or inviting someone else’s brain out on a playdate.”

Along the way we get exercise in active reading, active writing voice, scene setting and effective description from within the character’s points of view (because we want our partner to understand, without saying it out right, where we think the story might be going.)

So, here’s the premise. I’m going to ask you three questions, or maybe five, or maybe just one.  I’m going to pull the questions “out of thin air.”  They might be core character questions, or wild tangents:

  1. Good or Evil?
  2. Male or Female?
  3. What’s in your pocket?
  4. Painter or cook?
  5. Himalayas or Salton Sea?

You’re going to do the same thing for me.  The answers are a kick off point for our new characters.  There are NO wrong answers.  How we answer, and how we choose to interpret and act on those answers is up to us.

Then pick a place in the world. It helps if we both have at least a little bit of familiarity with it, or quick fingers and an understanding of how to use an internet search engine like Google.

It also helps if we can literally be on the same page.  And, we can. Google Drive (including Docs) is free for personal use, as well as for non-profits and schools.  Sign up for a free Gmail account and you have Google Docs. (Along with a lot of other really cool free tools.)

One of us creates a document, uses the blue “Share” button (you’ll see it) to share that document with the other, by email address.  We both open the document, and where ever we are online, we’re typing on the same page, at the same time.  The game, dear writer, is afoot.

You write your character. I’ll write mine.  Somewhere in the first couple of graphs they are going to meet, interact, conflict, compete, maybe even come together around a central theme.  It’s up to us and our skill as writers.

Most of the same basic rules apply as in acting improvs:

  • “Yes, and” — If you write, “Have you seen my elephant?” I accept the existence of an elephant, whether in view or not.  The response might be, “Yes, and he was quite tasty, thank you”  or a more complex version of the rule — the “no, but” — “No, have you seen my mouse?”  (I accept your elephant and imply there may be a fable happening just out of sight.)
  •  “Drive the scene toward the story” — I don’t remember who said it first, but every line either moves the story along or reveals something about the character.
  •  “You look better when both writers look good.” When we’re both writing well, the story gets better as well.
  •  “Don’t ask open ended (obvious) questions,” instead let the descriptions and the character’s words and actions reveal who they are and what they are up to.

One more thing? No quitting. Set a time limit or a word count as a goal and write until “the bell rings.”  “Writers write, right?”

Eldon Hughes is a writer, storyteller and education technologist.  His website is www.ifoundaknife.com.

NaNo WriMo 2013 Is Coming

National Novel Writing Month (NaNoWriMo) starts November 1. The basic idea is to engage in BIC (Butt In Chair) and write fiction. The goal is to finish 50,000 words by midnight on November 30. By successfully completing 50,000 words by the deadline, you win, (you get a badge!), and have a draft of a novel. Or that’s the idea.

The goal is less one of writing a novel than it is of writing 50,000 words in a month, or roughly, 1,667 words a day.

From the NaNo WriMo FAQs:

  • Write a 50,000-word (or longer!) novel, between November 1 and November 30.
  • Start from scratch. None of your own previously written prose can be included in your NaNoWriMo draft (though outlines, character sketches, and research are all fine, as are citations from other people’s works).
  • Write a novel. We define a novel as a lengthy work of fiction. If you consider the book you’re writing a novel, we consider it a novel too!
  • Be the sole author of your novel. Apart from those citations mentioned two bullet-points up.
  • Write more than one word repeated 50,000 times.
  • Upload your novel for word-count validation to our site between November 25 and November 30.

I like very much the attitude behind NaNo WriMo that what’s important is that you’re writing, and writing regularly. It is, as some writers have said, permission to create a first draft without obsessing over style, with the idea that later you will revise at your leisure.

Here’s an interesting thing: you’re permitted to use an outline, or notes that you’ve created ahead of time. But they discourage writers from starting with a draft or even a partial draft, and here’s why:

But bringing a half-finished manuscript into NaNoWriMo all but guarantees a miserable month. You’ll care about the characters and story too much to write with the gleeful, anything-goes approach that makes NaNoWriMo such a creative rush. Give yourself the gift of a clean slate, and you’ll tap into realms of imagination and intuition that are out-of-reach when working on pre-existing manuscripts.

Note by the way that NaNo has created a special forum for “rebels,” that is, people who aren’t writing a work of fiction. There’s an FAQ for that too; Am I a Rebel?

There’s even support for local NaNo WriMo groups. We have a lot of AWers who are NaNo veterans, and we even have an AW NaNo WriMo and Beyond subforum. MacAllister Stone has written about her own participation in NaNo WriMo, and the difficulty of maintaining a schedule.

What advice do you NaNo veterans have for first timers? What works for you in terms of finding time to NaNo?

From The Dishwasher Froths Success

By C.S. Paquin

Success as a freelance writer has come from the dishwasher— no, not via a lucrative commercial-copy gig bubbling with the attributes of a kitchen appliance, but from the old dishwasher installed in our new apartment.

The state of my kitchen defines my professional success and pre-dishwasher, chaos reigned! Last night’s dishes piled high don’t auger well for a productive morning, but once those counter tops sparkle, well, I’m free to tackle whatever chore is next. The only problem is, I hate dishpan hands, and in avoidance, it’s easy for me to waste an entire day—in fact, the task only takes on a sense of urgency when it’s time for dinner. This disorganization sounds the death knell for my writing career—haphazard working hours, staying up too late to make deadline after hours of procrastination, and working fitfully amidst the laundry, vacuuming, and errands—all impatiently demanding attention once I’m done in the kitchen.

But now, the delight of dealing with dirty dishes without delay, has sparked a catalyst. Each morning, after my daughter goes to school and the baby to the sitter, I tidy the apartment and throw in a load of laundry while the dishwasher sings its sloshy song. By 9 a.m., cappuccino time, I’m opening the mail, and with the rest of the place clutter-free, it’s prudent to keep my desk as pristine and file my papers and pay the bills. I’ve discovered, too, that if I balance the checkbook every few days, then it takes just a few minutes, and I even remember what I bought.

By 9.30 a.m., in disbelief at how early it still is, I switch on my computer and check for looming deadlines. I have regular editing jobs, a small column for a regional magazine, as well as sending out queries to new markets. The difference is, I’m really writing the queries and mailing them. Pre-dishwasher, I’d sit and dream about it, because with a brimming sink, I couldn’t possibly start the query process. So, with my attention not distracted by the chores, I set up and conduct interviews, write and edit what needs to be done, and send in work not only hours, but days before deadline. Ticking off the tasks on my list is addictive and the more I check off, the more inspired I am to find and complete new projects.

Within a few weeks, my flailing career takes new shape—more gigs appear, and checks trickle in. “Aha,” I think to myself, as I add regular banking to the task list: Self-discipline does pay!

This revelation chases away the nagging suspicion that haunted me—that I’m more in love with the idea of writing, than actually writing. These days, as I see my reflection in the shiny plates, I say to myself quite proudly: “I am a freelance writer!”

C.S. Paquin is a nationally published writer in a variety of genres—from news writing to humor. She holds a Master of Arts degree in Journalism, and dreams of being a best-selling author. Her first writing love, however, is creative nonfiction and personal essays.

Four Scary Things Writers Must Learn to Embrace!

monster illustration

Guest post by Francesca Nicasio

When I first started out, there were some things that I tried to avoid as much as possible because they were uncomfortable scared the crap out of me. It didn’t take long though before I realized that my avoidance was getting me nowhere and if I really wanted to succeed in freelance writing, I had to not only face my fears, I had to embrace them.

Below is a list of those fears. I’ve also included the things that I learned from facing them, and what you can do if you share the same fears or apprehensions.

monsterEdits or Criticism

Getting edits and constructive criticism is a good thing. Those red marks on your article may not look pretty, but they will make you a better writer. They can improve your style and develop your attention to detail. As writers, we are often too close to our creations to see flaws or errors. Having someone scrutinize your work will make it sharper and more compelling.

How to deal with constructive criticism: First of all, don’t take it personally. The person scrutinizing your work is just doing their job. Also remember that having your work edited or criticized doesn’t make you a bad writer. It only means that there’s some room for improvement and growth.

When you get the edited piece back, thank the person and revise your work. If you don’t agree with the way they edited your article, say so. Tell them (in a polite way, of course) why you wrote it the way you did and hear out their response. This opens up constructive discourse between the two of you, and you’ll likely pick up helpful insights in the process.

Rejection

The path to freelance writing success is littered with rejection letters. It’s just part of the territory. As writers we must learn to accept — nay —embrace rejection because each “no” that we get brings us closer to that coveted “yes.”

Rejection can teach you some valuable lessons in persistence and resilience. It also tests just how badly you want success. More importantly, rejection enables you to develop a thicker hide–an attribute that you must possess when putting yourself out there.

How to deal with rejection: There’s no shortcut or sugar-coated way to handle rejection. You just have to dust yourself off, learn from the mistakes that got you rejected (if any), and keep going.

You can also think of it this way: If you get rejected by a prospective client or publication, it doesn’t necessarily mean that there’s something wrong with you. It just means that you and the other party aren’t a good fit for each other. They’re not the right client or they simply aren’t looking for someone like you at the moment. It’s nothing personal and it’s not anything against you, it’s just the way it is.

Haters

Okay, maybe “haters” is too strong of a word. Let’s call them “negative commenters”.

Unpleasant as it may be though, receiving negative comments should be taken as a compliment. Why? Because it means that what you wrote sparked enough emotion to compel people to leave a comment.

Don’t feel bad when you get negative comments, be upset when you don’t get any.

How to deal with negative comments

If you choose to dignify their comments with a response, always be calm and respectful. Recognize that each person is entitled to their own opinions. Additionally, do not respond from a place of defensiveness or emotion. Instead, state the facts and be cool. And be sure to thank the person for taking the time to comment.

PS: This doesn’t apply to trolls.

Outreach

This is for all the shy ones (myself included). Reaching out to other people may be out of your comfort zone, but it’s absolutely necessary. Reaching success is not something that you can do alone, so get out there and network away. Growing your contact list is essential especially when you’re looking to promote your work or collaborate with others.

Reaching out to others is also something that you must do again and again throughout your career because it’s the only way to find new audiences and/or clients.

How to reach out

Do your research on the person that you’re touching base with. To be effective, reach out with their needs in mind, not just yours. For instance, if you’re contacting them to start a joint venture, tell them why a JV would benefit them and their audience. Remember, they’ll be asking the question of what’s in it for them, so be sure to answer it when you first get in touch.

Your Turn

Have you ever avoided any of the things mentioned in this blog post? Share your thoughts in the comments below!

 Francesca Nicasio (formerly Francesca StaAna) is the founder of CredibleCopywriting.net and is currently developing Copywriter2.0, an online course that teaches aspiring freelance writers the ins and outs of the biz.

Download her free eBook, 25 Types of Writing Gigs that Pay Well (and How to Find Them) here.

 

Character-driven or Action-driven?

By Martha Alderson
Most writers have a preference for one style of writing over another. Some writers are more adept at developing complex, interesting, and quirky characters. Others excel at page-turning action. The lucky writers are good at creating both the character emotional development plotline and the dramatic action plotline. Become aware of your strength and learn to address your weakness, and you, too, can become one of the lucky ones.
Cover of Marthat Alderson The Plot Whisperer's Workbook

Action-Driven

Broadly speaking, writers who prefer writing action-driven stories focus on logical thinking, rational analysis, and accuracy. Action-driven writers tend to rely more on the left side of their brain. These writers approach writing as a linear function and see the story in its parts. Action-driven writers like structure. They usually pre-plot or create an outline before writing. Action-driven writers have little trouble expressing themselves in words.

Character-Driven

On the other hand, writers who write character-driven stories tend to focus on aesthetics and feelings, creativity and imagination. These writers access the right side of their brains and enjoy playing with the beauty of language. They are more intuitive, and like to work things out on the page. Character-driven writers are holistic and subjective. They can synthesize new information, but are somewhat (or more) disorganized and random. They see the story as the whole. Right brain writers may know what they mean, but often have trouble finding the right words.

The Test

Take the test below to see whether you are stronger at developing character emotional development plotlines or dramatic action plotlines.

Fill in the character emotional development plot profile below for your protagonist (the character who is most changed by the dramatic action), any other major viewpoint characters and, if there is one, the character who represents the major antagonist for the protagonist:

  1. Protagonist’s overall story goal:
  2. What stands in his/her way of achieving this goal:
  3. What does he/she stand to lose, if not successful:
  4. Flaw or greatest fault:
  5. Greatest strength:
  6. Hates:
  7. Loves:
  8. Fear:
  9. Secret:
  10. Dream

Results

  • Writers who filled out 1-3 with ease prefer writing dramatic action.
  • Writers who filled in 4- 10 with ease prefer character emotional development.
  • Writers who filled in everything with ease find both the dramatic action and the character emotional development plotlines come easy.

Analysis

Without a firm understanding of points 1-3, you have no front story. The dramatic action plotline is what gets the reader turning the pages. Without it there is no excitement on the page.

Without a firm understanding of points 4-10, you are more likely to line up the action pieces of your story, arrange them in a logical order and then draw conclusions. Yet, no matter how exciting the action, this presentation lacks the human element. Such an omission increases your chances of losing your audience’s interest; readers read 70% for character.

Plot Tips

For Dramatic Action Plot Writers

To Strengthen the Character Emotional Development Plotline

  1. Try using your own flaw, fear, and/or secret—we all have them. What you filled out for #4-10 of the character emotional development profile is a mere skimming of the surface, like the first draft of any story. Even so, tack it up next to your computer. Over time, as you continue writing and come to know your characters better, the information will deepen. The longer you work, the deeper you will dig, the more significant your story will become.
  2. Look for opportunities to incorporate more patterning, metaphors, and analogies into your writing.
  3. Look for opportunities to role-play and use visual aids.
  4. Stop writing periodically and move your body during your writing time.
  5. Reread the information above that covers the less dominant side of your writing.
  6. Writers with strength in creating dramatic action usually think in sequence and are list makers. Since you have no trouble processing symbols, you actually enjoy making an advanced plan on a linear form such as a plot planner.
  7. After plotting out the dramatic action, use a different color pen and plot out a character emotional development plotline. To create logical conclusions, look for clues as to how the dramatic action causes changes in the character emotional development.

For Character Emotional Development Plot Writers

To Strength the Dramatic Action Plotline

  1. Use goals of your own and insert them into the context of the story— to finish, what? To organize, what? To accomplish, what?
  2. Writers who write about character emotional development have a more random writing style and rebel at anything as structured as a scene tracker or plot planner. Yet, because you like things concrete and benefit from seeing, feeling, or touching the real object, you keep coming back to the idea of developing a plot planner. You know intuitively that a plan will keep you on track and help you survive to the end of a completed project
  3. Because the right side of the brain is color sensitive, use one color to plot out the character emotional development scenes and use a different color to show the dramatic action, and yet another to show the thematic significance.
  4. Schedule a walk during your writing time and set the timer. Imagine yourself plotting out your scenes in sequence. The act of seeing yourself plotting will help you actually do it.
  5. Start with the climax of your story, and work backwards. Using your intuition, pay attention to coherence and meaning. Link dramatic action to the changes in your characters emotional development.
  6. Since you like to back up everything visually, hang a plot planner and/or scene tracker on a wall near your computer. These will help you remember the sequence of your story as you rewrite and rewrite until your story shows the meaning you want it to convey.

cover of Martha Alderson's Writing DeepThese are just some of the differences that exist between character-driven writers and action-driven writers, but you can see the pattern. Writers who lean more toward creating the character emotional development plotline now know you can be flexible and adapt the plot planner to make such a structured approach work for you. Likewise, those of you who are predominantly left-brain know that it would be wise to use both sides of the brain and employ some right brain strategies.

We tend to process and use information from our dominant side. However, the writing process is enhanced when both sides of the brain participate in a balanced manner.

Martha Alderson, M.A. is the author of Blockbuster Plots: Pure & Simple. She is a teacher, a plot consultant, a speaker, and an award-winning writer of historical fiction. She has taught plot and scene development and historical novel writing at the University of California at Santa Cruz Extension, Learning Annex, writers’ conferences, and workshops in the greater San Francisco Bay Area and in Washington State. Martha is available workshops and plot consultations. You can find plot tips and tools at Martha Alderson’s Website blockbusterplots.com. Her books on writing and plotting fiction are available at Amazon and other booksellers.

Better Interview Questions

By Ben Baker

Writing the story is only part of the process. You have to get information first.

If you interview enough people, sooner or later you will come across someone who replies to everything in monosyllables, grunts, and short sentences that give you the very barest minimum of facts. No matter how good your initial questions are, in order to get into the subject and really bring out details, you will have to have great follow up questions to draw information out of the subject.

A few notes about the following list: Not all questions are suitable for all interviews. Some questions refer to jobs, some refer to activities like hobbies. Some questions can be used for either. In most cases the word “field” is used to represent profession, activity, hobby, etc. Some questions don’t have anything to do with an activity; they just seek personal information. This is not an unabridged list. A good interviewer will find launching points for questions which could not possibly be anticipated.

Without further ado, here is a list of common interview questions (Q) with some follow-up (F) questions that will help you get more if your subject doesn’t give you a lot of information.

Q – Who are your inspirations or heroes?

F – Why do they inspire you?

F – What makes them heroic in your eyes?

F – What effect do they have on you?

F – When did you first learn about them?

F – Who told you about them?

F – What have learned about them since first learning of them?

F – How have you applied what you learned from them?

F – How can other people see your heroes/inspirations in you?

F – What do you do to be more like your heroes/inspirations?

Q – Married?

If “yes,” then:

F – How did you and spouse meet?

F – How long married?

F – What first attracted you to your spouse?

F – Does your spouse help in your field? If yes, then how?

F – Do you help your spouse in spouse’ field? If yes, then how?

F – Children? Grandkids?

F – Want to have kids?

F – Do you want to see your children do the same thing? Why or why not?

If “no,” then:

F – Ever been married?

F – Ever been engaged?

F – Ever wanted to be married?

F – Kids?

F – Want to have kids?

F – Do/Would you want to see your children do the same thing? Why/Why not?

(Note – if the person is biologically incapable of having kids, ask about adoption.)

Q – Are you involved in your community where you live?

F – What do you do?

F – Anything you’d like to do in your community which you have not yet done? Why?

Q – Where would you most like to visit?

F – Have you been there? If yes, what was the best part of it? If no, then will you ever go?

F – If you go back, what would you do that you haven’t done?

F – What makes it a good place to visit?

F – If you recommended this place to someone who’s never been there, what should they do first?

F – What surprised you about this place?

Q – Have any hobbies?

F – How did you get started in the hobby?

F – Why do you keep doing it?

F – What have learned through your hobby?

F – Why would other people enjoy doing it?

F – What’s a good way to get started in the hobby?

(NOTE: If possible, ask to see the person’s hobby. This could be the picture you need for the article, the person and hobby)

Q – Where did you grow up?

F – Did you move around a lot? If yes, how did this affect you? If no, how did the stability of living in one place all your life affect you?

F – What did you enjoy most about where you grew up?

Q – Are there any political or social issues you feel passionately about? (If you can’t get a story’s worth of information out of this line of questioning, you have GOT to be interviewing a corpse!)

F – Why are these things important to you?

F – What do you for these causes?

F – How can someone else get involved in these issues?

F – How much of your time do these causes take up?

F – Have you ever considered taking on these causes as a full-time occupation?

F – What would you most like to do that could further these causes?

Q – Do you have a nickname?

F – How’d you get it?

F – Do you like it?

F – Ever given someone else a nickname?

F – Did they like it?

Q – What is your favorite (book, movie or play, quote, poem, website, type of food or individual dish, music genre, song, band or individual musician, perfume, clothing style or designer, etc.)?

F – Why?

F – What drew you to this?

F – Where can other people find this?

Q – Why do you do what you do? (e.g., Why do you write? Work on cars? Race horses? Fish? Run marathons? Annoy politicians?)

F – How did you get started?

F – Who helped you get started?

F – How did they help you?

F – If you couldn’t do this, what would you do?

F – Why?

F – Would you be as happy?

F – Would you recommend (what the person does) to someone else?

F – Why?

F – What do they need to do to be successful at (whatever the person does)?

With these next follow-ups, you made need to insert some detailed specifics.

F – What would you change about (whatever the person does)?

Here, if the person says nothing, you may need to dip deeper into the subject. Ask about particulars. Referring back to the main question which spawned these follow-ups, you’d as a writer if he enjoys editing, research, writer’s block, finding a market for the work, the pay for the work. With cars, you might ask if the person enjoys having to dispose of used oil, getting greasy, scraping knuckles in hard-to-get-at places. With horses you might ask about the work which goes into horses, shoveling manure, brushing hide, filing hooves, buying feed, vet bills. If the person fishes, ask about the cost of maintaining a boat, lures, other fishermen, cleaning and cooking fish, driving to places to fish. On marathons you could ask about entry fees, cost of running shoes, the kind of surfaces the person runs over, running in different kinds of weather, trying to break through a pack, the Wall. Annoying politicians is my personal hobby and the only thing I’d change about it is having more time to annoy them.

F – Why would you change it?

F – How would changing that affect what you do?

F – Does that change make sense and really need to be done?

F – Why or why not?

Q – Is there anyone in (whatever the person does) you admire? (NOTE: This series could have been addressed in the first set, but there’s no guarantee it was so addressed. A hero may not be the same as someone who is admired.)

F – Why?

F – What do you admire most about that person?

F – Do you know this person?

F – Has this person had any influence on you?

F – Has this person ever given you advice?

F – What was the advice?

F – Was it good advice?

F – If so did you take the advice? Why or why not?

F – How did you apply the advice?

F – Is it good advice for anyone interested in (whatever that person does)?

Q – How have things changed?

F – Have any of the changes surprised you?

F – Were there any changes you expected?

F – How have you incorporated the changes?

F – Were the changes good or bad?

F – Why?

F – If you could, would you change it back? Why or why not?

F – What does the future hold?

Q – What sets you apart from the competition?

F – Have you learned anything from the competition?

F – What do you think the competition has learned from you?

Q – What training do you have?

F – Have you ever taught classes/seminars in your field? If so, where?

F – How often do you go to seminars/classes?

F – Have you ever wanted to be a professional teacher in this field? Why or why not?

F – Where is the best place to go to learn about your field?

F – Did your training prepare you for everything you’ve had to deal with? If not, what didn’t it cover? How did you handle it?

F – Do you need formal training for the work?

F – If you could tell people entering this field about something school did not teach them, what would it be?

Q – What honors have you received?

F – How did you feel about receiving the award(s)?

F – Have you ever recommended someone else for honors?

F – Have you ever delivered honors to someone else?

F – Are honors important? Why?

F – If you didn’t have the chance to receive honors, would you continue to do what you do?

Q – Are you involved in any of the field’s groups and associations?

F – What are they?

F – Any you would like to join but haven’t? If so what are they? Why haven’t you joined?

F – What group(s) would you recommend to a beginner? Why?

F – Have the group(s) helped you? How?

F – Have you made significant contributions to the group(s)? What?

F – How has your contribution affected things?

F – If you could make a lasting contribution, what would it be

Ben Baker has been a writer for longer than he wants to think about. He’s interviewed people ranging from garbage truck drivers to world-famous celebrities and he still can’t remember every question he needs to ask. You can find Ben Baker’s books on Amazon, and he blogs at Pork Brains And Milk Gravy.

Breaking Out Of Writer’s Block

By Apryl Duncan

You stare at the blank page. The white of the page embeds itself in your brain, resulting in your mind going blank.

Breaking out of the block doesn’t have to be a mind-boggling challenge, though. Explore the causes and the cure and you’ll be writing again in no time.

Common Causes

  • Unrealistic GoalsIf you’ve decided that you’re going to write from 8 a.m. to 5 p.m. every single day – no matter what – then you’re probably pushing yourself too hard.Your writing will become dull and drab. The natural flow you once knew will temporarily escape to Writer’s Block Island with the rest of your writing talents.
  • Stress!We all know how stress can affect your mood. But stress can also affect your writing.For instance, say all you wanted to do was come home from work and write until bedtime. Your boss makes you stay late. Your supper was a half-cooked hamburger and cold fries from a local fast food restaurant. Your dog wants to go out. And all you want to do is crawl in bed and forget the entire day.

    As much as we try to carry a stiff upper lip, we’re still human. External factors can affect our mood and ultimately affect our writing. Our focus shifts to all the bad things that happened in our day and writing becomes the last thing we want to do.

  • Neglecting Our WritingSometimes Writer’s Block comes from not writing! Writing every day is essential to keeping those creative juices flowing.You don’t have to make an impossible deal with yourself to write 100 pages of your manuscript in one sitting. Taking as little as 10 minutes a day helps keep you writing and words will flow from your mind much easier.
  • PerfectionismThe perfect paragraph, word after word, is a carefully constructed piece of art. But hanging yourself up on creating that perfect paragraph will win you an all-expense paid trip to Writer’s Block Island.If you run into this problem, give yourself and your writing a cooling off period. After a couple of days, re-visit your work and see where or even if it needs improvement. Your mind will be fresh and clear, giving you a whole new perspective on your own writing.
  • Research-RelatedA lot of writers don’t realize how research can even be a hang-up. Maybe you can’t finish your crime novel because you don’t know how police would handle a certain situation in reality.Sometimes the answer isn’t so obvious and we try to write our way around it. All we really need to do is a little more research.

The Cure!

After you’ve beaten your fists on the keyboard and taken two aspirin for that migraine, try these cures for writer’s block:

    • RevisitRe-read some of your previous works. Maybe it was a journal entry. Perhaps you wrote a poem once. It doesn’t matter if you’re working on a novel. You can still gain insight and even inspiration from something else you’ve written.
    • Change of SceneryHow many times have you heard a song that reminds you of something? Perhaps you heard that song a dozen times a day when you were in college. So that particular song brings back memories. The same goes for scenery in your every day life.If you’re sitting in the same room, day after day, the scenery’s going to get old. That scenery starts to remind you that you’re not writing. That you’re stuck in what seems like a hopeless case of Writer’s Block.

      The solution is simple. Seek out a change of pace. Go for a walk. Take a drive.

    • Rewrite Another’s WorkCheck out a newspaper or magazine article. Now rewrite that story from a new angle. Maybe a young girl was kidnapped. Police are still looking for the suspect and the little girl.Your version of the story might portray the young girl as the daughter of a lawyer. Perhaps one of his clients wasn’t happy with the way his own daughter’s murder trial was handled. So he kidnapped the defending lawyer’s pride and joy.
    • Use Real PicturesFlip through a magazine. Cut out pictures, headlines, even certain blocks of text. Now write a short story based on your clippings.For example, you might cut out a picture of a man riding a bicycle on page 14 of your favorite magazine. On page 22 you cut out a quote that says, “Anyone caught doing this will be prosecuted to the fullest extent of the law.”

      Your story could turn into one man’s crusade. Perhaps this man’s riding his bicycle across country because he’s outraged by automobile pollution levels. His point is to raise people’s awareness about the effects of pollution.

      Meanwhile, police keep hindering his efforts because the man’s riding his bicycle on the freeway, a violation of the law. So you have a man on his bicycle and the police quote, “Anyone caught doing this will be prosecuted to the fullest extent of the law.”

    • DoodleYes! You were scolded in elementary school for doodling on your paper. Now you have full permission.Free your mind while scribbling. No need to think about your character’s next move. No plot structures to consider. Just a sense of connecting your pen to paper.
    • Object FocusTake a look around you. Does something catch your eye? Even something as simple as a stapler. Describe an object in full detail. Start with its size, shape, color.
    • Building BlocksRomance. Mystery. Thrillers. All genres have their own keywords. Build keywords from your own genre.If you’re a romance writer, you could come up with words like love, marriage, betrayal, lust, happiness. Jot down as many words as you can think of.
    • Life EventsThe birth of a child. Holidays. Graduation. Weddings. We all have our favorite life events. Pick one of your own and write down all your thoughts and feelings about that day. Turn it into a story.
    • NetworkMany authors beat Writer’s Block or avoid it altogether by networking with their fellow writers. Bulletin boards, chats and writer’s Web sites all offer you the chance to meet other authors and work your way through the many facets of fiction writing.Think of talking with other writers as your own personal support group.

Writer’s Block may attack you at some point in your writing career but always remember:

WB isn’t fatal.

Overcoming WB is not impossible.

WB’s only temporary.

Apryl Duncan is the founder of www.FictionAddiction.NET, an award-winning site for fiction writers and readers. She is an author and professional freelance writer who enjoys writing everything from mystery novels to how-to articles on the writing craft.

Interview with Kathie Fong Yoneda

Reading Between The Lines: An Interview with Kathie Fong Yoneda
By Christina Hamlett

What is Hollywood looking for? Ms. Kathie Fong Yoneda has seen it all in 25+ years of story analysis and development at Paramount, MGM, Columbia, Walt Disney, 20th Century Fox, Filmways, Inc. and Universal Pictures. An accomplished speaker, author, and international teacher, she shares her views on today’s entertainment industry . . . and what makes a winning script.

Being a script development consultant has to rank as one of life’s “dream jobs!” How did you get from the halls of C.K. McClatchy High to the bright lights of Paramount Studios?

Well, back in high school I worked on the school paper so I was basically in Journalism and Art.  Although I majored in English in college, my original plan was to go to California Fashion Institute.  It didn’t take too long to flounder around and discover that fashion design wasn’t exactly what I wanted to do but I still knew I wanted to do something very creative.  I know my parents, especially my mother, really preferred that I pursue something more stable and conservative like being a teacher or a pharmacist or a secretary.  I actually granted their wish by becoming a secretary but as a secretary in the motion picture industry.  As a matter of fact, I was the first Asian female hired on a full-time basis at Universal back in 1969; that was when less than one tenth of one percent of the people who were in the industry were minorities.

Was it even more of an ol’ boys club than it is now?

Oh yes. Very, very traditionally ol’ boys. One of the people who really helped me out, though, was my boss, Dick Shepherd, who was the head of production at MGM. He was a production executive at Warner Brothers when we met and I became his assistant. In between that, he became a producer and when he was away on location, the scripts would really start to pile up. I was just so hungry for knowledge about things and I was also very organized, both of which led to my reading all of these scripts. When he came back, he’d start looking over the mail and I’d say, “Oh, you don’t have to read that one. It’s really not very good.”

Never underestimate the power of a good assistant!

Anyway, I’d proceed to tell him what it was about and why I didn’t like it, and he said, “Well, can you do me a favor?  Can you write up a couple paragraphs about the story?” To his surprise—and mine, too, I was very good at it. After all, book reports were one of my favorite things in school, and reading scripts is essentially the same thing.

It’s not just about commenting on the story, though, is it?

It’s a lot of different factors, actually. It’s the characters and the structure, it’s the production value, the dialogue—it’s the whole picture, literally. I tell people that structure is merely a beginning, a middle, and an end and trying to make the whole thing interesting. If you go back to our common ancestors—cave people sitting around a campfire telling stories—what those stories have in common with what’s being written today is that they all had to have an intriguing set-up. They had to have complications and challenges and you had to have a satisfying ending that entertained everyone and wrapped up all the loose ends.

So how did you transition from secretary to studio reader?

Well, by the time my boss went to MGM and became head of production, I was really hooked on doing script coverage and he made me a deal.  Basically he said that if I set up the office and trained a new secretary—my replacement—he’d do whatever he could to get me into the Story Analysts Guild.

And what’s that?

It’s a very closed union shop and all the studios have to hire union story analysts.  The main distinction is that story analysts read material only for the studios.  Then there’s a group of freelance readers who read and do coverages for agencies and independent production companies.  The freelancers don’t belong to the union and make considerably less money.

But back to your career path—

Well, I made it into the Guild on my first try and started to move around, building on what I had already learned.  One of those moves, in fact, led me to become a development executive for Disney for 8 years during the time when Eisner and Katzenberg first moved over there and wanted to get a lot of new movies going.

What are you doing now?

I’ve worked for 9 years now for Paramount in their longform division and evaluate books and scripts for TV, cable movies and occasionally mini-series.  A lot of the movies you see on Showtime, for instance, are things that Paramount may have done.  I’ve also been doing a number of speaking engagements and workshops around the world and even have a book coming out in the summer of 2002 (Michael Wiese, Publisher).

There’s a lot to be said about how technology is shrinking the globe.  Is it inversely expanding the opportunities for new writers?

Absolutely! What I find really encouraging is that because there is so much technology, there are so many different ways to pursue storytelling. Unlike some of my associates, I don’t view technology as a foe or feel as if it will spell the end of motion pictures because kids are glued to the Internet.  What I see is that there are a lot more websites available for people to express themselves and to get critiques of their work. A lot of the studios now, for instance, have people who are assigned to surf the Net and to take a look at some of the projects that are out there. Aspiring filmmakers can get very industrious with their digital camcorders and are producing “mini-trailers” that are getting the attention of these studio execs.  Thanks to the Internet, no longer is Hollywood like that big black monolith that no one could figure out in 2001: A Space Odyssey.

Based on your experience as a reader and a movie-goer, are films today getting better or worse?

Well, I do think that movies which have a lot of special effects or action or sci-fi/fantasy are a lot more eye-catching.  And, of course, the largest movie-going audiences today are the young adult males. That’s probably not going to change. In fact, it’s been that way for at least the 30 years I’ve been in the industry!  Remember how every other movie in the 80’s and early 90’s was some kind of an action film?  Well, it seems as if the public—and even all those male adults—finally got a little tired of it and then came the trend of doing scary movies.  Horror movies in a way, but still sort of campy.  Finally, the trend in the late 90’s and into 2001 are movies along the order of Something About Mary and American Pie.  What you notice, though, about scary movies and the latest crop of teen movies is that there aren’t a lot of special effects; in both cases, they’re mostly about the anticipation of something big happening.  That’s the irony of these films which, coincidentally is what one of my favorite directors, Alfred Hitchcock, used to do; it was the anticipation that you knew what was happening or what the danger or risk was, and yet you still couldn’t keep your eyes off the screen!  But back to the question, I think that audiences have gotten a lot smarter and they’re expecting more than just special effects. They watch things because they’re different.

What about the copycat syndrome, that insatiable quest for writers to imitate what is currently “hot”?
I think what happens is that people see a film that’s different and that they really like and their reaction is, “Wow! I can write something just like that!” What doesn’t sink in their heads, though, is that by the time they write this thing and give it to someone—even if gets snatched up right away—it’s going to take at least another 18 months before it gets made and comes out.  By the time that happens, you’re going to be the third or fourth or eighth person to that theme and it’s already old news!  By the way, the top grossing movies of all time—the top 10—are almost always family movies.  And the one thing that sets them Cover of Kathie Fong Yoneda's The Script Selling Gameapart is the fact that they all have in common a look at the human condition as told through characters that audiences instantly related to and could believe in. It’s something that writers tend to forget because they’re concentrating on the high-tech aspects of telling the best possible story instead of looking at how to simply touch the audience in some way and make them say, “Oh my God, I’ve been there, too!”  Whether it’s getting them to realize that they have the same fears or the same phobia or the same dream, a movie needs to say something to you and you need to respond to it in such a way—through the heart or through the soul—that you just don’t want to leave your theater seat even when the usher says, “Okay, bud, move along.  The next group is coming through.”

As a studio reader, what are some of the major turn-offs when a new script falls into your lap?

What overall is really bad is when people try to cram too much into a story—or too little.  It’s about not having a clear-cut view of what your story is and changing back and forth as far as what the goal is going to be.  The second thing is not fully developing the characters.  Some people know how a story should start and how it should end but they just don’t know how to have the characters carry the story all the way through.  Character and dialogue are actually the two most important things for me, probably even more important than the story.  Most of the stories that readers at studios read are actually variations of things we’ve all heard before—but with a twist.  What makes those twists unique always has something to do with the characters and how they look at life and, accordingly, react to it.

So what kinds of things really make you sit up and take notice?

I’d have to say that it’s what I just mentioned, only put them in reverse!  I also have to add that I like it when I can tell that there’s a real sense of passion behind the writing. Sometimes when I feel that level of passion coming through in the words—a story that’s personal and really means everything to the person who wrote it—this is something that comes from such an honest place, I can’t help but be attracted to it and be interested in how it’s going to turn out!

Kathie Fong Yoneda is the author of The Script Selling Game: A Hollywood Insider’s Look at Getting Your Script Sold and Produced. You can find her Website kathiefongyoneda.com.

Former actress and director Christina Hamlett is the author of 17 books, 98 plays and musicals, and over 250 magazine and newspaper articles on the performing arts, humor, travel, health, and how-tos for aspiring authors. You can find her at authorhamlett.com</em>

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