Category Archives: The Creative Process

The Ins and Outs of Outlines: Plotters Versus Pantsers [PART II: PANTSERS]

Jennifer D. Foster, freelance writer, editor, and content strategist

What an honour it is to be able to share this article from
Jennifer D. Foster that was originally published in 2016 Novel & Short Story Writer’s Market: The Most Trusted Guide to Getting Published. There is so much information here that I’ve split the article into two separate guest posts. This second one deals with what Jennifer describes as “pansters.” Enjoy the read!

* * *   * * *   * * *

Behind every successful novel or short story is an outline, right? Maybe. Some authors swear by a detailed plan (they’re known as “plotters”), while others, namely those fly-by-the-seat-of-your-pants  writers  (known as “pantsers” or “SOPs”), despise outlines. New York Times best-selling author Joseph Finder, for example, believes that “writing without an outline is like doing a high-wire act without a net. Some people can do it, but wouldn’t you really rather have a net? I would.” New York Times best-selling author J.A. Jance, however, says she “met outlining in Mrs. Watkin’s sixth-grade geography class in Bisbee, Arizona. I hated outlining then; I hate it now. I do not outline.”

What exactly causes this great divide?

By examining this question of process via authors who do and don’t outline—and why—and via key insights from a selection of those working directly in the world of publishing, including authors, agents, writing instructors, editors, and publishers, we’ll get front-row seats to this age-old debate. For those looking for practical how-tos, tips on creating an effective outline will help send you on your writerly way.

PLOTTERS VERSUS PANTSERS: THE GREAT DEBATE

Pantsers: The Cons of Outlines

For those who love to hate outlines, the writing process is viewed as more organic and free-flowing. Weiland believes many authors are “so talented and so able to hold the entire novel in their heads. They simply don’t need the tools that help the rest of us achieve that same end product.” Key West, Florida-based Meg Cabot, a number one New York Times best-selling author, is one such writer. “Because writing a book, to me, is like taking a trip. I know in my head where I want to go. I just don’t write out an elaborately detailed itinerary. Because the fun part—to me—is figuring out how I’m going to get there, and checking out the interesting sites I see along the way.” Author Harlan Coben is another New York Times best-selling writer with a similar mind-set. “I don’t outline. I usually know the ending before I start. I know very little about what happens in between. It’s like driving from New Jersey to California. I may go Route 80, I may go via the Straits of Magellan, or stop over in Tokyo … but I’ll end up in California,” he says. In an interview for the U.K.’s The Telegraph, he clarifies further: “E.L. Doctorow has a wonderful quote on writing where he says that it is like driving at night in the fog with your headlights on. You can only see a little bit ahead of you, but you can make the whole journey that way. I concur, except that I know, in the end, where I’m going.” And, interestingly enough, for Coben, “there is no ‘why’ I don’t [outline]—you just do what works for you as a writer.” Sims believes that memory plays a role in why some writers, like Coben, don’t outline—they can hold seemingly endless amounts of material in their heads before turning it into a book. But she muses on the impact time may have. “I sure wouldn’t tell him to change, but I wonder how that method will work as he gets older and the brain cells get a little less efficient!”

Pronovost looks at it this way: “Instinctive writers sometimes hold a book’s architecture in their mind—essentially, the outline for them is something private, maybe even sacred, and speaking it out loud or commit- ting it to paper can feel counterintuitive or even rigid.” Deborah Grabien, author and editor at Plus One Press in San Francisco, California, is in full agreement. “As  both a writer (eighteen published novels and music journalism) and an editor of other peoples’ work (two anthologies of short fiction), I loathe outlines. I find working with an outline the functional equivalent of trying to dance in a straitjacket or having sex while wearing a suit of armor. My mantra is, ‘A writer writes, period; just tell the damned story.’ An outline is rigid and, for me, unworkable.”

Embracing the Serendipity

Many writers simply love the serendipity and unpredictability of writing that comes without an outline. They don’t like what Finder calls being “constricted by the steel girdle of an outline.” Hiyate agrees. “The biggest flaw is, you can write yourself into a corner, and the characters are fighting where you want to go with them. Or, because you’ve planned too much, some of the spontaneity—and suspense—might be lost.” Cabot concedes: “Story ideas don’t come along often, and when they do, you have to treat them with care. Outlining them too thoroughly—even talking about them too much over coffee with a friend—can actually ruin them, because it can make you feel as if the story is already told. And when that happens, if you’re like me, you’re dead.”

MacKinnon explains it this way: “Some authors might be less inspired to start writing if they think they have the story all figured out. They find the story as they write it. Maybe they need the excitement of finding the characters’ motivations and the plot as it unfolds to them as well.” J.A. Jance is such an author. “I start with someone dead or dying and spend the rest of the book trying to find out who did it and how come. Knowing what the end will be would make it impossible for me to write the middle,” she says. “I think if I knew what the ending would be, my motivation to write would disappear, as would the sense of discovery. I write for the same reason people read—to find out what happens—and I have never read the end of a book first.” Her reasoning? “This way, I discover the answers at the same time the characters do. This morning, at 60 percent of a book, I just found out that a character I thought was dead isn’t. If I had written an outline, would that even have happened?” Finder, a big fan of outlines, agrees in this case: “That’s just the kind of unpredictable twist you want, because if you didn’t expect it, your reader won’t either.” And that’s exactly why, says Cooper, the biggest hazard of outlining comes to those who refuse to deviate from their meticulously plotted course. The story may have decreased energy or mystery or sense of surprise—for the reader and for the writer. Writing without an outline or with only a loose outline ideally allows the story to unfold like a movie as it’s being written.”

Sims, who has worked on both sides of the outlining fence, can relate to Jance, Finder, and Cooper. With her Rita Farmer mystery series, she’s had to put together a very detailed outline for each book for her agent. But, she says, “the more detailed I got while outlining, the more frustrating the process, because my natural inclination is to figure out a lot along the way. Things come to me, answers to difficult plot questions appear as I write chapter after chapter. And, of course, as I develop characters, I get to know them better and better, and they themselves suggest action, plot points, resolutions, and so on.”

Remaining Surprised

For Black, despite her attempt, outlines do not work. While she’s not against them and “envies” people for whom they do work, for her “they are a little deadening,” and here’s why: “With the first novel I wrote—one I wrote, sold, and then withdrew because I saw its failings all too well—I used a pretty detailed outline. But I found that my ‘knowing’ what was going to happen took out some element of something like a romantic, if rocky, relationship with the book. I wasn’t intrigued by it. The process was a bit like paint-by-numbers for me, and finally I realized that the product was a bit that way as well.” So for Black, spontaneity and what she calls “openness” are imperative. “One of the great benefits of winging it—or making it up as I go along—is that I feel fluid not only about such things as what is going to happen but also about the deeper meaning of the story. I like being a little stupid about my own work as it’s in process, so I don’t fight too hard against its natural process of evolution.”

Green, a creative writing professor at Western University, cautions against outlines in terms of their relationship to the organic processes of change and revelation inherent in writing. “If one is a micromanager in terms of adhering to the outline, the pleasure of discovering that your character is going to do something that you didn’t know he or she was going to do (like a real human being, your character is unpredictable) seldom happens, and formula fiction often rears its head this way. If writing is discovery (and often self-discovery), the fully outlined and adhered-to story can become a ‘product’—albeit a professional one.” When it comes to writing, Green has “found it more valuable to keep a charted summary of each segment or chapter after it’s completed than to try to chart it in advance (like a journal of the novel; Steinbeck did this).” The purpose? The summary “lets me review it each morning and see clearly what has gone before and what I should be addressing next. Then comes the actual writing that day, and often (in best case) the sense of wonder at what has been created at day’s end. And repeat the next day. And the next. In that sense, it’s a kind of reverse outlining and progression, tied into what has come before.” 

In her book Escaping into the Open: The Art of Writing True, Chicago, Illinois-based, New York Times best-selling, and award-winning author Elizabeth Berg says, “there are two kinds of writers: those who start with a plot and those who end up with one. I am one of the latter.” Berg says the few times she tried to plot a novel, “it was as though the book rebelled—it went another way entirely, and then all those notes I’d taken to follow the ever-so-neat sequence of events I’d planned were in vain.” Like Jance, Black, Sims, and Green, for Berg “part of the joy in writing fiction is the surprise of it, the discovery of things I hadn’t known were in me or that I wanted to say, or, more likely, the way those things chose to be said.” Berg starts her novels only with a strong feeling of something she wants to say and/or understand, and the novel helps her do it. “I find almost nothing more enjoyable than to be working on a novel and wake up not having any idea what’s going to happen that day. It keeps me interested. It keeps me excited. If I had to write what the plot told me was ‘up’ next, I’d be bored—it would feel too much like homework.” Like other pantsers, for Berg “the magic in writing fiction comes from taking that free fall into the unknown and, rather than making things happen, letting them.”

Mockler, who outlines depending on the project, shares Berg’s overall sentiments: “I’m not a fan of obsessively outlining every scene because, for me, it kills my desire to write the story. Writing is a process of discovery, and you can miss great nuggets and details if everything is pre-planned. Too much focus on the structure and not enough on the characters and details and themes can make the writing seem formulaic and flat.”

FINAL FOOD FOR THOUGHT

The reasons why some writers outline and some don’t are as vast and varied as the creators themselves. Bottom line? Use whatever structure, or lack thereof, works best for you, without judgment. “Explore and experiment, and figure out what best unleashes your creativity,” says Weiland. Writing is a highly individual and personal process, a journey of finding balance and what works best. And the tools and techniques that work best for each writer are always based on “personalities, backgrounds, and circumstances,” emphasizes Weiland. If you choose to go the outline route, then remember, she says, that outlines are “about discovering your story and organizing it, so you will then have an accurate road map to follow when writing your first draft.” But, stresses Wiese Sneyd, remember not to become too attached to your outline. “Outlines need not be written in stone, but in sand. And don’t buy into the idea that an outline is essential to writing. It’s not,” she stresses. “I know many writers who sit down every day and write into the dark, so to speak. They allow the story and the characters to carry them rather than relying on an outline to do so.”

Regardless of your path to the finished product, keep this quote in mind, from Stephen King’s On Writing: A Memoir of the Craft, for inspiration: “Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.”

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Watch for Jennifer’s feature in the upcoming 2018 Novel & Short Story Writer’s Market in mid-September 2017.

Jennifer D. Foster is a Toronto, Canada-based freelance writer, editor, and content strategist. She’s been in the writing and editing business for two decades, and her company is Planet Word. Jennifer’s clients are from the book and custom publishing, magazine, and marketing and communications fields and include The Globe and Mail, Art Gallery of Ontario, D. F. Plett Historical Research Foundation, Greystone Books, McMichael Canadian Art Collection, Canadian Children’s Book News, Dundurn Press, Ontario Dental Association, and Firefly Books. When she’s not busy spilling ink for her first novel, walking her greyhound, Aquaman, or reading, Jennifer enjoys travelling, antiquing, gardening, camping, and yoga. She’s a long-time mentor to novice editors via Editors Canada and novice writers via the Professional Writers Association of Canada. Jennifer is chair of Editors Toronto and administrative director of the Rowers Reading Series. Find her online at lifeonplanetword.wordpress.com.

© Jennifer D. Foster 2017

The Ins and Outs of Outlines: Plotters Versus Pantsers [PART I: PLOTTERS]

Jennifer D. Foster, freelance writer, editor, and content strategist

What an honour it is to be able to share this article from
Jennifer D. Foster that was originally published in 2016 Novel & Short Story Writer’s Market: The Most Trusted Guide to Getting Published. There is so much information here that I’ve split the article into two separate guest posts. This first one deals with what Jennifer describes as “plotters.” Enjoy the read!

* * *   * * *   * * *

Behind every successful novel or short story is an outline, right? Maybe. Some authors swear by a detailed plan (they’re known as “plotters”), while others, namely those fly-by-the-seat-of-your-pants writers  (known as “pantsers” or “SOPs”), despise outlines. New York Times best-selling author Joseph Finder, for example, believes that “writing without an outline is like doing a high-wire act without a net. Some people can do it, but wouldn’t you really rather have a net? I would.” New York Times best-selling author J.A. Jance, however, says she “met outlining in Mrs. Watkin’s sixth-grade geography class in Bisbee, Arizona. I hated outlining then; I hate it now. I do not outline.”

What exactly causes this great divide?

By examining this question of process via authors who do and don’t outline—and why—and via key insights from a selection of those working directly in the world of publishing, including authors, agents, writing instructors, editors, and publishers, we’ll get front-row seats to this age-old debate. For those looking for practical how-tos, tips on creating an effective outline will help send you on your writerly way.

PLOTTERS VERSUS PANTSERS: THE GREAT DEBATE

Plotters: The Benefits of Outlines

Elizabeth Sims, Florida-based author of the award-winning Lillian Byrd crime series, says her favorite method is to “jot down some basic ideas for a plot, focusing on what I call ‘heart-clutching moments,’ then work out the rest as I write the book. Beyond that, I’ll often look ahead two or three chapters and write a paragraph for each one that simply says what has to happen in that chapter.” And she prefers to use the term story  map, disliking the word outline. “The term outline seems to connote rules and distasteful work. Story map brings to mind discovery, adventure, and getting somewhere,” emphasizes Sims, who’s also a contributing editor for Writer’s Digest. Lynn Wiese Sneyd, owner of LWS Literary Services in Tuscon, Arizona, refers to outlines as “tracks,” and Mary Lou George, a Toronto, Ontario-based mainstream romance novelist, likens them to a “road map,” stressing that her willingness to “prepare them is the only thing that separates me from the animal kingdom.”

Regardless of what they’re called, outlines, for those who prefer them, are a godsend. “For me, the outline is crucial,” says George. “A good outline helps me plot and pace the work. It can keep me on track and help me identify weaknesses in my story. I can see where I’m going to run into trouble before I start writing, and I can structure the story accordingly.” How does an outline help her? “I map out what’s going to happen in each chapter. If my story involves a mystery that needs to be solved, I highlight the clues, misdirection, etc., just to keep track. I list each scene. That way, I can get a feel for high-tension points in the story and pace accordingly. Once I’ve mapped everything out scene by scene, I know where I want to introduce a love scene, a confrontation, some mystery, or a funny bit, just to keep them wanting more. I get a feel for whether it’s all going to work to my satisfaction.”

Sims feels that “an outline is well worth the trouble when writing a mystery.” So does Kathryn Mockler, Toronto, Ontario-based publisher of The Rusty Toque (an online literary, film, and art journal); senior editor at the literary magazine Joyland: A Hub for Short Fiction (Toronto); and creative writing lecturer at Western University in London, Ontario. “If you are writing genre fiction or screenplays, you pretty much have to have a tight structure, and outlining can be helpful for that.” Nita Pronovost, editorial director at Simon & Schuster Canada and a former senior editor at Penguin Random House in Toronto, Ontario, agrees, adding: “Often, genre writers have more practice using the outline as a technique and tool that guides their creative process rather than stifles it.” Jennifer MacKinnon, a freelance editor in Newcastle, Ontario, and a former editor at Scholastic Canada, concurs. “Mystery novels need to have very specific events happen for the story to work in the end, [and that’s why] it may help writers work out some plot holes and structural and pacing issues beforehand, which would mean less editorial revisions later.” Finder feels the same holds true for his novels. “Thrillers have too many moving parts. They’re all about plot. They’re almost always too complex to write without doing some sort of outline in advance.” For his novel Power Play, he took his writer friend Lee Child’s advice and “brazened” his way through it, sans outline, which “wound up taking me several months longer than usual, simply because I wasted a lot of time on plot and on characters that I ended up cutting out.”

Unleashing Creativity

No one knows how long the controversy over outlining has been around, but it’s a bristly debate with deep roots. One thorn of  disagreement stems from the notion of creativity: Plotters feel outlining is advantageous and part of the whole process, boosting creativity. Pantsers feel outlining squelches their creative flow. “If you feel like you need an outline in order to write or feel that an outline releases your creativity, then you should use an outline,” says Wiese Sneyd. MacKinnon believes that “even with an outline, the author has thought creatively about the story and the plotting and the characters.” And Toronto, Ontario-based award-winning author and freelance editor Janice Weaver stresses that new writers should be mindful not to “adopt the mind-set that the outline is somehow the enemy of creativity.” George agrees, adding that an outline is “there to help me, to enhance my creativity. That’s its reason for living. I don’t look at my outline as written in stone. I created it; it’s mine to morph into whatever I choose. It’s as adaptable as I want to make it.”

Sims says, for her, the greatest benefit of a story map is “anxiety reduction. You get up and grab your materials, and you can start that next chapter knowing at least basically what you have to get done in it.” Wiese Sneyd concurs. “As you venture into the storytelling and the manuscript, an outline can ease the anxiety of creating that which has never been created: unique characters acting within a unique story. It can shed light on a writing process that otherwise takes place in total darkness.” Philadelphia-based non-outliner Robin Black, author of the novel Life Drawing and the short story collection If I Loved You,  I Would Tell  You This, expands on this notion. For her, one of the downsides of not outlining is that “it is definitely a less secure process—emotionally, I mean. When I wrote my fully outlined novel, I knew what I was doing every day. … I enjoyed the lack of panic that nothing will occur to me next, or that I’ll take some giant wrong turn.”

Taking Control of the Process

Another benefit of outlines, according to plotters, is being in the driver’s seat. “It partly has to do with control. It feels good to know ahead of time where the story is going and how it ends. The blank page can feel very unsettling,” says Wiese Sneyd. “I’ve heard some authors say that their out-line consists of a beginning and an ending. Their job is then to fill in the middle.” For Wilmington, North Carolina-based Wiley Cash, New York Times best-selling author of A Land More Kind Than Home and This Dark Road to Mercy, “the greatest benefit is that it offers you the chance to see the totality of your idea. I’ll typically outline a novel once I know who the main characters are, so that I can get a sense of how I see their lives unfolding and how their lives will flow with and against the narrative.” His rationale? “Each character has a tiny plot evolving inside him or her, and it’s important to keep that in mind before you try to develop the arc of the broader narrative.” Cash says he won’t look at the outline for months while he’s writing, “but it will always be there in the back of my mind. It’s like the map in the glove box that you’re hesitant to get out and unfold because you think you may recognize a landmark around the next bend in the road. But the map definitely gives you some peace. It’s there if you need it. For me, outlines are the same.”

Pronovost also agrees with the outline-as-map benefit. “The initial outline is a kind of map. I can sometimes spot narrative problems right from the outline, which means that the author is saved the aggravation and time of falling into a potential black hole in the story.” For her, outlines provide “clarity of thought, organization, direction … an architecture to a story, and it helps the author (and editor) retain a kind of muscle memory of the framework long after the outline has been put aside and the work on scenes and chapters begins.” And, she says, “what an outline can do, especially for new writers, is save them from becoming too involved in the journey and becoming lost in the maze of superfluous narrative.” Weaver concurs: “Outlines are especially important for new writers, because those are the people who sometimes lack the discipline or the critical distance needed to see the problems with their manuscripts.” Pronovost also stresses that “the outline provides a way for the author to think from the point of view of the creator and from the point of view of the readership.” How, exactly? “The outline creates awareness in the writer of the techniques they are using to tell the story: what each chapter covers, what the main actions are, how each segment opens and closes, where the major turning points occur, and so on. That’s taking care of the reader’s experience, something an author should always consider.”

Treating the Outline as a First Draft

Scottsbluff, Nebraska-based K.M. Weiland, author of Outlining Your Novel, Structuring Your Novel, and the fantasy novel Dreamlander, has an interesting theory about the pros of outlining. “Many authors who don’t use an outline are actually using their first drafts as an outline of sorts—from which they then figure out the story’s problems and use it as a template to write a better second draft.” So, she says, “outlines are my rough draft. And then when I actually go to write the first draft, it’s actually the second draft. Since I already know what’s going to happen, it’s where I get to fine-tune those ideas, smooth them out, and explore them further.” For Weiland, “outliners do most of the major revising in the predraft process, which allows for much faster (and, dare I say, more fun?) first drafts and much less revision time afterward.”

Karen Wiesner, genre author of more than one hundred novels and of First Draft in 30 Days and From First Draft to Finished Novel, agrees. She used to be a pantser, but after writing sometimes twelve drafts of a novel to finally get it right, she decided to give outlines a try. “With the right preparation, you can create an outline so complete, it actually qualifies as the first draft of your book and includes every single scene of your book. You can see your entire novel from start to finish in one condensed place. An outline like this … contains every single one of your plot threads, unfurled with the correct pacing and the necessary tension, culmination, and resolution from beginning to end.” For Wiesner, the outline is “the place to work out your story settings, plot conflicts, and in-depth characterization before starting the actual book. This allows you to focus on scenes that work cohesively together and advance all of these. Additionally, tension, foreshadowing, dialogue, introspection, action, descriptions, etc., can best be done within the outline, building strength while adding texture and complexity.” The best part? “Creating an outline like this puts the hard work of writing where it belongs—at the beginning of a project. If you work out the kinks in the story in the outline, you ensure that the writing and revising are the easy parts.” Wiesner’s analogy cements her argument: “When I write a book based on a ‘first draft’ outline, pure magic happens because I watch the skeleton—the framework of the book contained in my outline—putting on flesh, becoming a walking, talking, breathing story.”

Like Weiland, Pronovost, and Wiesner, Weaver believes an outline can save a writer both time and frustration. “Ideally, it will force you to think through the events of your novel before you ever put pen to paper, and in doing so, it can reveal potential pitfalls, uncover creative opportunities you hadn’t considered, and give you a broader perspective. An outline can condense that process and minimize the wrong turns, and that makes it more likely that you’ll finish what you started.” Sally Cooper, Hamilton, Ontario-based author of Love Object and Tell Everything and creative writing professor at Humber College in Toronto, Ontario, agrees with Weaver’s thoughts. “A good outline helps me think through the story ahead of time, so I avoid writing myself into an unresolvable corner. Outlines also create direction, signposts, or goals to look forward to and meet.”

Kathy Lowinger, Toronto, Ontario-based author and former publisher of Tundra Books, says that, “oddly enough, a detailed outline can be of most use to those who write beautifully. For them, it is easy to write a great sentence or paragraph or even several pages without benefit of a good skeletal structure. Eventually it becomes apparent that the plot isn’t well thought out, but good writing can hide the plot flaws for a long time.” She also believes that for writers who claim to be smothered  by an outline, “I always think that they don’t understand what an outline is. It can be changed if it isn’t working, but,” she cautions, “the author has to understand that a single change should be looked at in the context of the whole work.”

Speaking of the whole work, Weaver has a fitting metaphor regarding outlines. She likes to compare a manuscript to a jigsaw puzzle. “Your job as the writer is to make all the pieces fit together to form a complete and pleasing picture in the end. The outline is the photograph on the puzzle box—it’s a guide to remind you what picture you’re ultimately trying to create. Sometimes you’re contending with a puzzle that comes with extra pieces that don’t quite fit. A big challenge for most writers, in my experience, is recognizing that those extra pieces don’t belong, and having the courage to let them go. An outline can relieve you of some of those decisions by making it clear when something doesn’t fit.”

A Word to the Wise for Plotters

Even pro-outliners caution against following an outline blindly. “If you get extremely detailed and rigid about the outline process, you can rob yourself of the chance to stumble upon something awesome,” says Sims. “An outline can and should be fluid. Be okay with throwing an outline away and starting over or slicing and dicing and adding in new stuff—even if you’re halfway through your book. If you get a gut feeling you ought to try something drastically different, give it a go.” MacKinnon concurs. “The outline is just a written guideline. Most authors I know would never let an outline get in the way of a good story. If inspiration hits in the middle of writing, and the characters or story seems to be going in a different direction, they follow their instincts and go with the story rather than the outline.” Cash holds the same theory, stressing that “the greatest drawback is that there’s always the risk of being shackled to your outline. Trust me, you won’t disturb the universe if you don’t follow it.”

Pronovost feels the same. “Just because a writer has a plan doesn’t mean she has to dogmatically stick to it. There is always room for creativity in any structure, including in an outline. A rough, flexible, dynamic outline—one where change can occur throughout the drafting process—is a very practical tool.” Kevin Morgan Watson, publisher at Press 53 in Winston–Salem, North Carolina, agrees. “An outline should be, to borrow a phrase from the movie Ghostbusters, ‘more of a guideline than a rule.’ A writer should always be open to new ideas that present themselves during the writing process. When that little voice says, ‘What if my character does this or goes there instead of following the outline; I wonder what would happen?’ I think writers should listen to that voice and take the detour.” He cites the “wise words” from American poet Robert Frost as further evidence:

“No surprise in the writer, no surprise in the reader.”

Shaping the Story

For Sam Hiyate, literary agent, president, and co-founder of The Rights Factory in Toronto, Ontario, “outlines are essential for helping shape a story. You wouldn’t start building a house without blueprints. Why start a novel without one?” For Hiyate, who’s also a creative writing instructor at the University of Toronto and a publishing instructor at Ryerson University, “the most important thing is to write an outline at the level of detail that makes you comfortable. Some writers might have one [outline] that is two pages, whereas some might want ten to fifteen pages. If you have it in bullet points to start, you can still enter a chapter or scene with a lot of possibility, as long as you know where it will quickly go.” For him, it’s all about “writing with the level of detail that will keep your writing spontaneous and fresh.”

For number one New York Times best-selling author John Grisham, outlines are the Holy Grail of productivity and structure. “The books are carefully outlined before I ever start. Chapter by chapter, from beginning to end. And usually tedious and boring and even painful—but it’s the only way to make sure the story’s going to work. Usually the outline is fifty pages long. And the longer the outline, the easier the book  is to write. I have started several books and put them aside—and a couple of times I’ve gone back and been able to finish them.” This level of planning for an outline on the part of the author could be an example of what novelist and short story author Terence M. Green refers to as “the micromanager, who plans the whole story out in advance before the actual writing. I think it’s fair to say that the writer who benefits the most from the micro-planning is the one most concerned with plot, and plot intricacies and twists.”

George sees an outline as a life-enhancing literary safety net. “If you run into trouble, it’s never too late to create an outline to help you along. It can be as detailed or as sketchy as you’d like. Sometimes, when I’m having a crisis of confidence, I will hone the outline in order get reassurance that my story has merit. That, alone, can get me writing again.” And George stresses that the outline may be for the writer’s eyes only. “Remember that no one else needs to see the outline.

It doesn’t have to be perfect. You don’t have to update it or stay faithful to it—it’s so unlike a spouse in that way. In fact, my relationship with my outline is probably the best I’ve ever known.”

Best Tips of the Trade

Looking for some writerly inspiration not only to create but also to nail an effective outline?
Our industry experts weigh in with these helpful tips.

“If your book were divided in pieces, what would they be called? How many pieces
(acts or parts) would there be? What would happen in each segment? Summarize in
only a few sentences, not in a thousand pages. Does your outline have a climax? If
not, why not? Does your outline have a clear beginning, middle, and end?” —Nita
Pronovost, editorial director at Simon & Schuster Canada, former senior editor
at Penguin Random House

“Don’t confuse your outline with a summary of your novel. Keep your outline brief.
It doesn’t even have to be comprised of complete sentences. Don’t be afraid to
change it or move things around, and consider putting it away once it’s completed.”
Wiley Cash, New York Times best-selling author

“Know your characters. Think in terms of scenes, like a filmmaker. Include thematic
and symbolic beats, not just plot points, and be open to throwing the outline out the
window if the story takes a promising turn.” —Sally Cooper, author and creative
writing professor at Humber College

“Outlines are a great way to think through a story, to envision a story, much like a drive
across the country or a family vacation: You can plan it down to the hour of every day,
but it’s in the detours along the way where the better story, the better adventure,
may be hiding. And what’s the harm in taking a detour to see what is there? If you
work from an outline, make it a loose guideline. Give yourself permission to veer off
course and explore.” —Kevin Morgan Watson, publisher, Press 53

“The outline is simply a tool; don’t let it intimidate you. Use it as an aid to pace your
novel well. Read it over from time to time. Your outline can help you identify slow
points in your story. It can remind you that you’ve forgotten something and, if so,
then how necessary is that something? Or maybe it was key, and you can’t neglect it.
The outline will help you make decisions.”—Mary Lou George, romance novelist

“Be flexible. Think of an outline as a collection of puzzle pieces. At first you think a piece
might fit well here, but then you see it fits better there. Keep moving the pieces around.
Don’t be afraid to toss some and add new ones.” —Lynn Wiese Sneyd, owner of
LWS Literary Services

“Think of your outline as the bird’s-eye view of your manuscript. It’s meant to show
you the best path to take—and to reveal any roadblocks long before you get to them—but it shouldn’t prevent you from taking the odd side road on your way to your destination. An outline can take many different forms, and if one technique is too restrictive or makes you feel too constrained, try another. One bad experience with outlining doesn’t mean all outlines are bad.” —Janice Weaver, award-winning author and freelance editor

“Don’t be afraid to make a mess. Writing is like life: glorious, unpredictable, full of
passion, woe, and joy. Be okay with ambiguity as you map your story; you’ll figure
it out. And be open to making parts of your outline rough and other parts very detailed.
Don’t worry about following any particular form.”—Elizabeth Sims, award-winning
author and contributing editor for Writer’s Digest

“Start out with what your central quest is; give your protagonist a series of trials of various
flavors (by that I mean level of difficulty, mood, etc.) to overcome; and put the resolution
in the protagonist’s hands. And make sure that the protagonist is marked by
each trial in some way. This holds for almost every novel, whether the quest is something
intangible like acceptance or tangible like the Holy Grail.” —Kathy Lowinger,
author and former publisher of Tundra Books

“Use the outlining phase as an opportunity to build story structure. The single most
important factor of a story’s success and salability will be the strength of its structure.
The outline is the place to start figuring that out so you will be able to place the important
plot points and other structural moments at exactly the right place to allow
them to achieve their utmost power.” —K.M. Weiland, author

“When writing a short story, I’ve found it useful to take a sheet of paper and divide it
into three (usually Intro, Body, and Conclusion, the Body being the substantial part
of the page). By filling in these sections with ideas and details, the story can come to
life in a general way. The actual writing of the story is where it can come to life in its
particulars. For a new writer of fiction: Know the ending of your story. If one has this
in mind, the goal is clear, the path straightens itself.” —Terence M. Green, creative
writing professor at Western University, novelist, and short story author

… to be continued

Watch for Jennifer’s feature in the upcoming 2018 Novel & Short Story Writer’s Market in mid-September 2017.

Jennifer D. Foster is a Toronto, Canada-based freelance writer, editor, and content strategist. She’s been in the writing and editing business for two decades, and her company is Planet Word. Jennifer’s clients are from the book and custom publishing, magazine, and marketing and communications fields and include The Globe and Mail, Art Gallery of Ontario, D. F. Plett Historical Research Foundation, Greystone Books, McMichael Canadian Art Collection, Canadian Children’s Book News, Dundurn Press, Ontario Dental Association, and Firefly Books. When she’s not busy spilling ink for her first novel, walking her greyhound, Aquaman, or reading, Jennifer enjoys travelling, antiquing, gardening, camping, and yoga. She’s a long-time mentor to novice editors via Editors Canada and novice writers via the Professional Writers Association of Canada. Jennifer is chair of Editors Toronto and administrative director of the Rowers Reading Series. Find her online at lifeonplanetword.wordpress.com.

© Jennifer D. Foster 2017

An Overview of Story Creation

Award-Winning Author Hank Quense

Let’s assume you are a new (or inexperienced) fiction writer.  You probably know that creating a story requires a great deal of work and thinking.  You may not know that the work involved is the same whether you are creating a short story, a novel, a play, a script or even a memoir.

“How can that be?” you ask.  Simply because a novel, a script, a memoir, a play, a short story are all stories.  And no matter what type of story you have in mind, each requires a number of common elements such as characters, plots, scenes, settings, character arcs and more.

The only difference between these types of stories is the output.  What the manuscript looks like, in other words.  The manuscripts for a novel and for a play will look very different, but the process of creating those manuscripts is exactly the same.

Let’s put that issue aside and discuss a different topic.  Stories are the result of three separate creative processes:

  • Ideas
  • Story design
  • Storytelling techniques

Let’s discuss each one of these processes.

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1. Ideas

A mistake many rookie writers make is to start writing a story when they have only a single idea.  While a single idea can be the genesis of a story, no story can be written from a single idea.  A short story needs perhaps a dozen ideas while a novel requires many more than a hundred ideas.  The writer needs ideas about the character development, plot events, the setting, the character arc and the scene designs.  To gather all these ideas requires time and a great deal of thinking.  This is where a notebook (a real one or a digital one) comes in handy.  You never know when a great idea when pop into your head.

2. Story Design

What is story design?  It’s the process of developing all the story elements such as characters, plot events and so forth.  To put it another way, story design is the where the writer incorporates all these ideas into the story.

I’m a planner (as opposed to a panster) so I spend a lot of time on story design before I attempt to write the first draft.  In most cases the story design process for a novel consumes three months or more.  A major portion of this time is spent on determining the scenes I need to get the characters from the start of the story to the climactic scenes at the end.

3. Storytelling

No matter how great your ideas are and no matter wonderful your story design is, if you don’t have the storytelling skills to hold the reader’s attention, your story is doomed.  Storytelling involves the use of a number of techniques that include point-of-view, foreshadowing, show-don’t-tell, stimulus & reaction, dialog vs exposition among other topics.

One storytelling skill that isn’t discussed much in writing books is the development of a writing voice.  Writers can’t tell a story by using their speaking voice: they have to develop a separate and distinct writing voice.  The reason for this is that our speaking voice tends to be boring.  Very boring.  Want proof?  Eavesdrop on the conversation between a few strangers.  I’ll bet you it won’t hold your interest for long.  So imagine trying to read a story written in a speaking voice.

I believe that once a writer understands the creative processes required to produce a story, the work can go forward more easily and more smoothly.

This article is based on material in my book Creating Stories.

© Hank Quense 2017

Ten Things I’ve Learned Writing Novels

Award-Winning Author Trace Conger

I published my first novel, The Shadow Broker, in October of 2014. It was a fascinating experience. Since then, I’ve published three additional novels and numerous short stories. Along the way, I’ve learned a few things about the process of writing and marketing.

Your mileage may vary, but here are a few insights to noodle:

1. Writing a novel is only as intimidating as you make it. Starting a novel is like holding your newborn for the first time. You’re a bit freaked out thinking about your newfound responsibilities of raising a living, breathing human being. Taking on a novel can feel the same way, but it’s only as bad as you make it out to be. Take it one word or one page at a time, and one day you’ll wake up with an 80,000-word novel.

2. Outlines make the process easier. Other writers will debate this, but for me creating an outline kept me on track. I create a brief outline for each chapter, including no more detail than can fit on one side of an index card. After I have the story fleshed out, I sit down with my stack of cards and write each scene or chapter. Yes, the story changes. Yes, you’ll throw away some of your ideas or characters, but having a roadmap will help you get to your destination, even if you take a few detours along the way.

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3. It takes time. I’ve heard countless stories of indie authors pumping out three or more books each year. I don’t/can’t do that. While I’m not going to insinuate that these prolific authors are sacrificing quality for quantity, I will say that if you rush the product, your quality will suffer. Focus on creating a quality product. If you can write multiple quality books per year, fantastic, but if you can’t, then don’t.

4. Your worst critic is you. I can’t remember a time in my life when I experienced more self-doubt than when I was writing my first novel. Every author has that voice in their head that tells them they’re a hack, their work isn’t any good, they’ll fail miserably, or they’re wasting their time. I haven’t figured out a way to silence this inner critic, but I have learned to tell him to get lost.

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5. There’s no such thing as writer’s block. It’s all bull. Writer’s block is an excuse authors tell themselves when they can’t produce. Maybe it’s a slow idea day, or the words aren’t coming as fast as they did yesterday. Doesn’t matter. Put your butt in the chair and write. Even if you feel like you’re walking through quicksand. Move forward, one step (or word) at a time, and you’ll make it to the other side. I promise.

6. Marketing is hard. You think writing a novel is hard? Wait until you have to market it. Even if you sign a big deal with a publisher, you’re going to have to promote your book. Get comfortable with the idea, even if you aren’t. Get comfortable talking about it, contacting the media, researching book blogs, responding to readers, hosting signings, doing interviews, and writing blog posts (like this one) to support your work.

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7. You’ll become obsessed with metrics. You’ll spend hours Googling yourself, watching your sales, scrutinizing your Amazon author ranking, and stalking your reviews. Then one day you’ll realize you’re wasting your time and you’ll get back to work.

8. Your friends won’t buy your book. Some of them will, but most won’t. Most of your friends don’t read. Maybe because they prefer to spend what little free time they have binging on Netflix. Or maybe you just have crappy friends. Either way, don’t expect them to buy your book but do expect them to lie and say they will.

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9. You have to field lots of questions. Once people discover you’ve written a novel, they’ll throw every question imaginable at you. Who’s your publisher? How did you get your agent? Did you get an advance? What’s your book about? How long did it take you to write it? Where can I buy it? Where do you get your ideas? Can I be a character in your next book? Listen to every question, even the stupid ones, and answer with a smile. Everyone is a potential customer.

10. Authors are an incredibly supportive bunch. Maybe it’s because they’ve been in your shoes or understand your struggle, but authors are some of the most supportive people I’ve ever met. Two huge authors, Joe R. Lansdale and Jonathan Maberry, gave me incredible advice (even if they don’t remember doing it). Don’t be afraid to reach out to authors you admire. Ask questions and listen to their advice. You’ll be surprised at how accessible and helpful they can be.

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Bonus insight: There is a ton of horrible advice out there. I stalk the popular forums from time to time and am always amazed at some of the horrible advice that I see. One of the worst pieces of advice I’ve ever heard was to publish your first draft to “get it out there” and then use reader review comments to identify weaknesses and revise your next draft. Are you kidding me? Scrutinize all advice and carefully consider who is dishing it out. I’m not advocating only looking to best-selling authors for advice (there’s great advice out there from authors at all levels) just make sure it passes the sniff test before you stake your reputation on it.

Trace Conger is an award-winning author in the crime, thriller and suspense genres. His Mr. Finn series follows disgraced private investigator Finn Harding as he straddles the fine line between investigator and criminal. Find out more at www.traceconger.com.

© Trace Conger 2017

Finding Forrester

Michael LaRocca of MichaelEdits.com

The existence of a movie — any movie — about the topic of writing is surprising enough. But for it to actually be a good movie? Wow.

I taught Advanced English Writing in several universities in China from 2002 through 2006. Showing this movie became an integral part of those classes, because so many of its themes are identical to what I was trying to teach. I was happy to watch it over a dozen times with my students, and lecture about it in a style more Robin Williams than F. Murray Abraham.

But all these years later, will I still think it’s a good movie? Let’s find out.

We begin by meeting Jamal, the student who hides his intelligence in order to fit in. Fair enough.

Jamal is also a writer who hides his writing. Do they still exist?

Sean Connery is William Forrester, the reclusive genius of a writer.

Jamal is writing all the time. By hand. He’s constantly practicing his basketball. He’s constantly practicing his writing. That’s how a person gets to be the best he’s able to be at either pursuit. Or any pursuit. So if you’re not writing every day, listen to Sean Connery and Rob Brown. Write every day. You’re never going to write like Shakespeare or shoot hoops like Michael Jordan, but if you write every day, you’ll get better at it than you are now. Unused potential is worse than lack of potential, because the former is a choice.

Jamal and Forrester are both obsessed with reading. As writers must be. Jamal snoops in Forrester’s shelves both to learn about him and for suggestions. I already know you’re reading every day. Aren’t you? How many times have I said it? If you don’t enjoy reading, you can’t write something that somebody else enjoys reading.

Jamal: “You read all these?” 
Forrester: “No, I keep them to impress all my visitors.”

Amusing because Forrester’s an agoraphobe whose only visitor is the guy bringing his royalty checks and his groceries. (Wouldn’t you love to be an author living well on royalty checks for something you wrote 30 years ago?) But also a chance for me to riff on people who keep all the books they’ve ever read shelved at home. You know how much I love the written word. But Goodreads tells me that in the past three years alone I’ve read over 1000 books. Why would I keep them? I’m not going to read them all again. (Just the five-star books.) I do love a library, but I choose not to own one. I know where they are.

Jamal gets his writing notebooks back from “Window,” that strange old dude who we don’t know is Sean Connery because we haven’t seen his picture on every movie poster ever made. And what has this man of mystery added to the notebooks? Honest feedback. It’s not all kind. Not even close, actually. Brutally honest. That’s what we all need. And if we’re mature, it’s also what we want, because this helps us improve. Jamal’s first reaction was negative, but the next day, he’s knocking on the door. He says: “I was wondering if I could bring you more of my stuff.”

Finally, Jamal reads a book by Forrester. When Forrester gets the book back, he says, “Christ, you’ve dog-eared one of them. Show a little respect for the author.” I say screw the author. Have a little respect for the next reader. Don’t vandalize your books.

In the film, Forrester wrote one book. It won a Pulitzer. He reacted to a mix of critical praise and personal tragedy by not publishing another one. I don’t think you have to be an author to enjoy the pot shots he takes at critics.

Forrester: “I know what it is. The last thing I need is another person telling me what they think it is.”

I know the feeling.

Forrester: “Critics spend a day destroying what they couldn’t create in a lifetime.”

True.

Jamal: “What’s it feel like?” 
Forrester: “What?” 
Jamal: “Writing something the way you did.” 
Forrester: “Perhaps you’ll find out.”

I like that little exchange because, while I remember what it felt like to write at my very best, I’ll be damned if I can explain it to you. Write your own books and you’ll find out for yourself.

Jamal: “Did you ever read your own writing?” 
Forrester: “In public? Hell no. I barely read it in private.”

I used to say things like that all the time. But I did finally reread all fourteen of my published books last year. In private. Not bad, Michael. Not bad at all. Oh, and they’re better “inside proper covers and everything,” just like the author’s wife noted in the second Robert Galbraith novel. Don’t act like she’s weird for waiting.

[It’s eighteen books now. When the hell did I write this movie review?]

Forrester: “A lot of writers know the rules about writing, but they don’t know how to write.”

We know it’s true. But let me add that the writers who don’t even know the rules are screwed. You need not obey the rules. But you do need to know them. I break writing rules all the time, but never out of simple ignorance.

Clever dialogue about starting a sentence with a conjunction. Who knew such things were possible?

Forrester just sits at a manual typewriter and immediately starts writing. Jamal likes to think first. So do I. Hell, I’ve even used an outline once or twice. Also, I start with pen and paper or (more often) computer keyboard. Not a typewriter.

Forrester: “No thinking — that comes later. You must write your first draft with your heart. You rewrite with your head. The first key to writing is… to write, not to think!”

I’ve used freewriting in class and given it a spot in my textbook. It’s a good technique, and I’ve seen a lot of students surprise themselves with the results. But I’ve also never written anything publishable that way. Blogable, perhaps. I do agree with the heart/head thing, of course.

Using other authors for inspiration can be a complex issue. Plain old stealing is wrong, but even the most original thinkers seek inspiration. The movie finally moves its dramatic conflict into high gear by examining all that. It was probably a bit predictable the first time I watched it. It was certainly predictable the fifteenth or twentieth time I watched it. But it still works. It’s still powerful, moving, and five-star all the way.

Enjoy!

Technical editing since 1991. Business editing since 2006. MichaelEdits.com

© Michael LaRocca 2017

Amanda Hocking: Another Fascinating “Rags to Riches” Success Story

Kim Staflund: founder and publisher at Polished Publishing Group (PPG) and author of the PPG Publisher’s Blog

I’m always on the lookout for author success stories to share with my blog subscribers because this is a tough business that requires a lot of inspiration to keep oneself motivated. It takes motivation to get yourself to consistently take the types of actions you need to be taking in order to achieve the success you desire.

I believe you get what you focus on. You can focus on the difficulties and heed the warnings of business advisers who insist that 90% of authors will never see the kind of success that authors like Amanda Hocking and Mark Dawson are seeing, and that you should therefore set your goals much lower in order to avoid disappointment. Or you can focus on the possibilities by going in search of the proof, all around you, that what you desire is indeed achievable … whether you write fiction or non-fiction.

The fact is, many authors are earning fantastic livings writing books nowadays. Wouldn’t you love to read an article that tells you exactly how they’re achieving this? If the answer to that question is “yes” then you’ll enjoy reading this: What Makes a $100k Author: 8 Findings Every Author Should Know. What I appreciate most about this article is that it provides relevant data about the realities of this business while also showing authors what is possible if they’re willing to put in the time and effort. It encourages authors rather than discouraging them.

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I created the “Author Success Stories” category on this blog as a place where you can read about the possibilities. The purpose is to encourage you rather than discourage you because, at the end of the day, if even one author can accomplish something that means it’s achievable. It’s possible. Focus on that, and you may just be the next success story that is inspiring others to do the same. You may become one of the pioneers who steers others in the right direction so that, perhaps one day, it will be 90% of authors enjoying massive success and only 10% who will never achieve it.

Which brings me back to Amanda Hocking, an extreme success story that first appeared in The Guardian back in January 2012, who went from obscurity (and essentially poverty) to bestselling status within 18 months of publishing her first book online. Amanda is now a self-made millionaire. Granted, there were several years of writing and work beforehand … as it often is with these “overnight success” stories. Amanda makes sure to emphasize that in this interview which I highly recommend you read. It is eye opening and inspiring. And most importantly, it shows what’s possible even after several disappointments.

Keep writing. Keep working. Keep the faith!

* * *    * * *    * * *

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STORY: How to Weave the Thread of Theme Into Your Writing

Mel Menzies

Story has existed since the beginning of time.  It is endemic to human nature, and is evident in cave-art (yes, it may be painting or carving but it’s there to tell a story), legend, folklore and mythology, the Bible, fairy tales and biography, drama, newspaper reports and novels.  But I wonder whether those of us who seek to write either fiction or memoir, truly understand the importance of its effect on human behaviour?  Let me explain.

THE EFFECT OF STORY ON READERS

Shortly before starting my Evie Adams’ series of mystery novels, I woke one morning with the following statement ringing in my head: Entertain your readers so that they will absorb truths they might otherwise resist.

Think about it.  Morality and duty to society are stated as key themes of Jane Austen’s novels.  True to the era in which she lived, she could have written on these subjects in a didactic, non-fictional manner, with the aim of teaching her readers how they might better behave.   Had she done so, however, I somewhat doubt that her books would have survived the twentieth century, let alone the twenty-first.  Yet survive – no, thrive – they do.  Precisely because she chose to convey these themes through the actions, dialogue and inner stream of consciousness of her characters, in response to the circumstances they encountered.

THE NATURE OF THEME

So what, exactly, is theme?  And how do we go about choosing it?

  1. Theme is the one word, or sentence, which characterises the reason for the book having been written, and its narrative.
  2. Theme might thus be described as the motive for your book; the message you wish to convey to your readers.
  3. Theme, for example, may be expressed as: forgiveness; destruction wrought by ambition; unrequited love; repentance; turning a self-centred life into a life which serves others, and so on.

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Thus, the story of a marital breakdown might focus on forgiveness as its theme.  Husband shoves wife aside and marches from room.  She falls and is injured.  The physical and mental trauma she experiences in hospital would be portrayed as a battle of will and emotion, in which pain, bitterness and anger would, naturally, rise to the surface.  Compassion, understanding, and empathy for the protagonist would be the obvious response in readers, whether or not they have shared similar life events themselves.

Adding to the conflict of the events the victim has experienced, and the feelings they’ve aroused, her sister is insisting that she takes legal action against her husband.   But what if the wife then searches her inner self and realises that she had some part in provoking the argument?  What if she catches herself out by recalling a similar event in her childhood, when she was, in fact, the perpetrator?  How, she asks, can she live with herself, harbouring bitterness and hatred, when she knows herself to be fallible?

As she goes through the inner arguments, and conveys them to her sister through dialogue, so, too, does the reader.  The story and theme play out in his or her imagination.  Until a decision is reached.  The denouement – the wife’s forgiveness of her husband, plus his remorse – leads to reconciliation.  To mutual happiness.  And to hope for a better future.

STORIES THAT DO MORE THAN ENTERTAIN

Your reader finishes the book feeling more than entertained.  His or her future attitude and actions have been influenced by osmosis.  You will have aroused questions in his or her mind; stirred up memories of relevant past events; perhaps, even, a determination to right a wrong.  They will have no need to be instructed in morality or clemency.  They’ve seen it for themselves.  And hopefully, they will have taken it on board.

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The story you have written, whether biographical or fiction, will have left your readers with a lasting impact.  Lives, behaviour and attitudes will have been changed.  Just think!  You’ll be more than simply a writer or an author.  As a lady who read my novel, Time to Shine, said to me: ‘That was a life-changer.’

***

Twice a wife, three times a mum, and seven times a grandma, I’ve been a multi-published author (under several nom de plume) since the 1980’s, with a Sunday Times No 4 Bestseller published by Hodder & Stoughton.  I’ve been a keynote speaker at conferences, led workshops, and taken part in radio and TV debates, panels and phone-ins.

My latest series of novels – family dramas with a page-turning mystery solved, not by a detective but by a counsellor – are set in Exeter and Dartmouth, and are available from Waterstones or any good bookshop, Amazon,  or at discount via PayPal, from my book page www.melmenzies.co.uk/books.  All proceeds are for charity.

‘This novel not only entertains, it inspires,’ says author, Pam Rhodes.

What I like about Mel’s writing,’ says Devon Life reviewer, Annette Shaw, ‘is that she explores issues and problems we all face.’


© Mel Menzies 2017

NEXT TIME: Story: Planning Your Plot

[From Pen to Print] Advice from the Author of ALLERGY BOOKS FOR KIDS!

Michelle Nel

I recall as a child wandering the library stacks, the pile of books in my arms growing steadily, teetering ever precariously. Author has been a title I have yearned for since childhood. Albeit not for lack of trying, each attempt to write was quickly foregone as frustration would ensue. I wouldn’t call it writer’s block as much as an underlying lack of direction or purpose. A turn in life’s path brought forth my passion to write as well of what to write. Navigating life with my son’s multiple anaphylactic food allergies has inspired my journey of ‘author’ … an entrepreneurship penned from passion.

In search of a creative manner in which to share allergy awareness, my mind began to reel with an unremitting onslaught of rhyming words. Penning each phrase before forgotten, I would frequently jump from bed or stop mid-street to scribble on a scrap of paper or the palm of my hand.

Once my stories were written, I then faced the challenge of bringing them from pen to print. With most publishers only accepting submissions from pre-published authors a scenario is created similar to that of ‘chicken before the egg’.

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With time and the test of patience, I was unwavering in my belief that all would unfold as it should. Dismayed, but yet determined, I posted an online plea with an allergy parent support group. In my search for an illustrator (or anyone with an artistic inkling), unbeknownst to me right there amidst my allergy moms was Jennifer Terry, artist and graphic designer from Colorado, USA.

For five years now, Jennifer and I have worked together, our partnership as seamless as our vision. Jen and I have never met nor video chatted and we have seldom texted (as I do not have US data on my phone). It has been with only intermittent emails that we have created this series solely by sharing a passion, one fueled by the purpose found in sharing allergy awareness.

What advice may I offer? You must believe in the purpose of what it is you write, be mindful to measure your success only against yourself, allow openness for constructive critique (thank you Kyle Dine), and finally, follow your heart! As the dedication in my fourth books reads “ For my friends, who have been ceaseless in their support, offered kind critiques, as well graciously gifted me their time, talent and technical abilities. To pursue one’s passion requires an intrinsic belief in its plausibility and purpose; to know others recognize your journey’s worth is validating as well abundantly humbling”.

There is much in life I am unsure of but I know this to be true, navigating life with my son’s allergies, autism, language and learning delays has allowed me the opportunity to grow into a better and more empathetic person. He has shown me the beauty in viewing life not just outside the box, but that there is no box. And the rewards, financial gain will come, what is priceless has been the friendships found and that the books are being embraced.

It would be an Ottawa allergy dad/businessman who after reading my first 2 books (then print-on-demand) offered to pay for a full print run of each. With both high-quality work and winning customer service I have returned now four times to the same family run printers, Sotek Graphics, in Orleans, Ottawa. Last month, in order to help me hand in my book 4 printing file the owner met me at a gas station on the side of highway, an hour from his business!

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During a time of single mom struggle, my gas and hotel were paid for by the owner/editor of Allergic Living Magazine, Gwen Smith, so I might attend the Canadian Anaphylaxis Conference three years ago. Gwen went as far as to allow me a corner of the A.L. Magazine table from which to share and sell my books.

I met Peter Ausland, editor of Ottawa Parenting Times Magazine through attending the Parenting Times Children’s Expo. Peter allowed me such an act of kindness I am still in awe. And when technology has had me in tears, many a time others have stepped in to offer not just a tissue but tech support.

There is no right way nor a singular road, be true to yourself and never lose sight of the passion that brought you to begin your journey with ‘words’. Along with his allergic lessons, I have instilled in my son that allergies and autism are what one has, they do not define who one is nor will they determine what one does or may become. I do not believe in disabilities only in the beauty found in different abilities.

With a love of reading bound by my fondness of books themselves, I am equally excited and honoured to sit as a new board trustee for the Augusta Township Public Library. This historical gem welcomes with its stone structure, red door, and the warmth found by stacks of books placed upon wood shelves.

Nestled near the St. Lawrence River, the Old Algonquin School was built in 1833 and was Ontario’s longest active schoolhouse at 133 years. The Augusta Township library began its conception inside the schoolhouse in 1896. Incredibly, in sharing of heritage and house, should you wish to read or hold a reception the Augusta Township Library welcomes rentals of the schoolhouse.

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What has been the biggest benefit? Having others share how much the books have been enjoyed, that they instill equal laughter as lessons learnt. But the greatest reward has been watching my son as he reads ‘his’ books, for this journey, an entrepreneurship penned by passion, is one we take together.

I smile to think that wandering the library stacks, a pair of little arms will embrace a pile of books, mine sitting on the top teetering precariously.

Michelle and Jennifer are honoured their books are housed in the resource library at CHEO (Children’s Hospital of Eastern Ontario). Michelle has participated in the CHEO open doors event sharing her experiences as a parent navigating allergies.

Michelle was nominated top five food allergy books by BAAAB – The (San Francisco) Bay Area Allergy Advisory Board.

Allergic Living Magazine has published a review for each book as well Michelle has several published articles in A.L. Magazine as well on the BAAAB webpage.

Michelle was interviewed on CBC radio ‘All In A Day’ by Giacomo Panico also she has participated in the Parenting Times Magazine/Ottawa Children’s Expo. 

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Michelle is a member of the AOE, Ottawa Arts Council as well is a board member for the Augusta Township Public Library.

ALLERGY BOOKS FOR KIDS! Michelle and Jennifer have aspired to create books which not only engage children who have allergies, but that they might also be used as resources to aid with allergy education. Michelle and Jennifer are pleased to share the upcoming release of their final two books thus completing the Allergy Books For Kids series of six.

Michelle was born in 1972, Gravelbourg,Saskatchewan although her parents’ home was in the neighboring village of Hodgeville.  From this small prairie community Michelle’s family moved to Saskatoon, then again to Kitimat, a coastal city in Northern British Columbia. A final childhood move, taken by ship, brought Michelle to the home where she grew up in the Vancouver suburb of Burnaby.

In 2007 Michelle moved from Langley, B.C. to Canada’s capital, Ottawa, Ontario. Most recently Michelle now calls home to Augusta Township, a picturesque piece of rural Ontario.

WEBSITE: www.allergybooksforkids.ca

TWITTER: @allergybookmom

LINKEDIN: Michelle Nel

FACEBOOK: Allergy Books For Kids – Author Michelle Nel

© Michelle Nel 2017

[The Law of Plenty] Everything You Need is Within Your Reach

Nestor Eguez

As a writer, my first story took me almost ten years to complete. You can imagine all the things, good and bad that happened during this long period of time. I specifically remember one occasion, I was very frustrated and close to giving up the whole project. Suddenly, I received an email with the below article from a close friend. Apparently, it was extracted and adapted from an old book. After reading, it definitely changed my perspective a lot.

To tell you the truth, it wasn’t a magic recipe that gave me ideas and eased my long road I had ahead. But rather, it simply opened the barriers inside my mind.

In my case, I want to write a story, right? Well, I have an idea, a piece of paper and a pencil in front of me. What more do I need? Nothing, only time and the desire to do it. Is the story going to be good or average? Is it going to touch and inspire people? I don’t know, and I’ll never be able to find out if I don’t try.

I hope that for those of you who are in the same situation with your dreams right now, that this article could help you as helped me years ago.

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The Law of Plenty

                Have you heard of the Law of Plenty ? This is the maxim that states whatever we could need or want, we have already. Even if we don’t literally have something plunked down in front of us, we certainly already have access to the raw materials in our lives right here and right now, available and ready to be put on the task.

                In order to use this rule to our advantage we have to be willing to see and understand what we have at this moment. This goes beyond taking inventory of our possessions; it is an inclusive, honest, open understanding of everything we are and have access to.

                To do this, we have to quit nay-saying, cut out the complaining and thinking we’ll never have enough, or that we’ll never amount to anything. We have to get innovative and be able to see new possibilities within the old scenarios, to understand how and when to recycle and renew our resources to get the absolute most out of them.

                In the process, we’ll achieve a wonderful balance that engenders a new thrilling freedom. All without spending a dime.

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This is the story of Kalima, a young zebra born in a corner of the jungle of Kenya. She is the last descendant of a very special breed called The Guides, well know for being protectors of the herd, and always staying alert. She has recently been made an orphan due to a lion attack that killed off her mom. Her grandmother becomes her caretaker, as she is an old and wise zebra who holds great knowledge. Kalima loves flowers, chase butterflies and play with her friend Norba, the youngest member of the elephant pack. But as one of The Guides, soon she is going to receive a big responsibility, keep a very important secret hide in the jungle. Unfortunately, looks like she doesn’t have any clue about it. The first of a trilogy, this book introduces to Kalima’s journey. Beginning in the jungle, her homeland, the little zebra is going to confront the ancestors heritage and her dreams in the process to find her destiny. The first of a trilogy, this Fantasy YA book, ingeniously explores humanity’s perception of its respect to nature and animals rights.

© Nestor Eguez 2017

Reflections on Indie Authorship from Warren Brown

Warren Brown

The First Story Which Made an Impact on My Creativity

The first story I read which made an impact on me was “Treasure Island” by Robert Louis Stevenson. The story was filled with action, adventure and suspense. I always look for adventure and excitement in the books I read. This has in turn made me want to keep my readers gripped from the beginning of my stories as well.

Writing Influence

My Dad is a writer. He had a great influence on my writings.
I grew up in Calcutta, India and being of British-Indian (mixed-race) origin, it has also had a major influence on my writings.

I belong to the Anglo-Indian or Eurasian community, which originated in India over 400 hundred years ago, when British and European soldiers and merchants married and had affairs with Indian women. The children of these unions came to be known as Eurasians or Anglo-Indians.
The Anglo-Indian community is the only race in India whose Mother-tongue is English, who have a British Ancestor on the male side of the family and who are Christian by faith. The Anglo-Indian community in India has declined in numbers over the years.

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The Writer’s Journey

I first started writing poems, research articles and blogging, when I was seventeen years old. It is now 30 years since I have been writing and publishing on the web.

The Art of the Book Cover

The cover needs to reflect the essence of the story in my opinion. Cover design is an art, which I am still learning about. The cover should be able to generate interest in the mind of the reader. The cover is the first visual hook which the readers sees even before the title. The title comes next in the reader’s view and mind.

The Importance of Social Book Marketing

I use my blogs and my author website to do my book marketing, as well as the usual social bookmark sites on the web. I even have an e-newsletter to keep my readers updated on my writings. Twitter is now my favourite social site for spreading the word about my writings. I find Twitter very useful as there are so many authors who offer other authors support and encouragement with their writings.

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The Story behind “Travelman”

My latest book “Travel Man” is based on the freedom of the imagination which we all have, but which remains hidden. In the case of the character in the book, his mind and his vivid imagination play an important role in his survival.

Human imagination does have a very active role to play in our lives, but it possesses the power to change our lives and the history of mankind.

An Indie Author on Amazon Kindle Publishing

I enjoy the freedom of indie publishing. I am able to have full control over almost every aspect of getting my work published and ready for my readers to enjoy. I like the speed and the extensive outreach of writing and indie publishing. I have so many ideas for the future and I feel that indie publishing gives me the freedom I need to express my creativity.

I publish my short stories, novellas and novel on Amazon Kindle publishing. I give my books free to readers, which has helped me to grow my reader base. I promote my books on Twitter and other social sites.

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The Greatest Joy of Writing and Publishing

My greatest joy of writing and publishing is that I have the opportunity to give life to my ideas and to express my creativity. Completing and publishing a book is an exhilarating experience for me, every time.

Treasure Your Readers

Every artist needs someone to appreciate his or her work. My fans are most important to me and I owe it to them to keep on writing and publishing more exciting and thrilling books for them. Thank you fans for liking my work.

The Storyteller Series

The Storyteller is an adventure fantasy series about a man who discovers that he possesses the powers of Story, with the ability to craft and weave stories to fight crime.

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On Becoming an Author and an Entrepreneur

Every author needs to become an Entrepreneur. I have always been interested in advertising and marketing. This has got be involved in blogging and promoting my books on social media. My strategy is that I first write and publish my books, after which I spend one week doing social media promotions on sites like Twitter, Instagram and Pinterest.

I have also joined a number of author sites on which I promote my published books. I enjoy writing, publishing and marketing. I wish that I could publish one or two books a month. With the help of Amazon kindle publishing, I can now publish more than one short story a month, which is just fantastic for any author.

Website: http://www.warren-brown.com

Blogs:

http://warrenbrown.blogspot.com

https://warrenbrownauthor.wordpress.com/

Amazon Author Profile:

UK

https://www.amazon.co.uk/Warren-Brown/e/B003AN10UI

USA

https://www.amazon.com/Warren-Brown/e/B003AN10UI

Book Machine

https://bookmachine.org/bb_project_tag/warren-brown-amazon-author/

Goodreads Author Profile

http://www.goodreads.com/author/show/5399385.Warren_Brown

Facebook Author Page

https://www.facebook.com/warrenbrownauthor/

Authorsdb

https://authorsdb.com/community/15322-warren-melvyn-brown

Travelman

http://selfpublishingadvice.org/iaf2017covers/travelman/

© Warren Brown 2017