NaNoWriMo

by

Stacy Tritt

It’s that time of year again. The scent of pumpkin spice and cinnamon apples permeate the air, the first frost of the season killed my chrysanthemums for good last night, daylight savings time changing gave me one more precious hour of sleep, and, most importantly, it’s noshavenovember National Novel Writing Month (NaNoWriMo)! So grab your keyboards, it’s time to hunch over our laptops with some hot apple cider and quit finding excuses to not write!

Okay, so maybe you aren’t so gung-ho about dedicating yourself to writing 50,000 words before the end of the month. Well, that doesn’t mean you’re a complete party pooper. There are still ways to get inspired, get motivated, and get encouragement from fellow writers without having to participate in NaNoWriMo, at least on the surface. Because this blog is all about using the resources from NaNoWriMo to your advantage, whether you are actively trying to write a new 50,000 word novel in one month, or not.

There are so many wonderful resources the NaNoWriMo organization offers to the writing community. Here’s my take on the best they have to offer:

When you sign up for NaNoWriMo, you select which region you’re from, so no matter if you are in Paw Paw, West Virginia or in New York, New York, you can find some writers nearby with whom you can network, and with whom you can exchange encouragement. The best part about these local groups? Write-ins! I can’t explain how wonderful it is to sit around a table at the local library or coffee shop with a bunch of strangers while you all type away—different worlds being created behind each screen. The creative energy that flows forth at such a gathering is something I have never experienced in any other setting. Write-ins can have many different nuances depending on who plans it, and who attends. Fun caveats are often added, like everyone puts a dollar on the table, and the first person to write 500 words gets the money, or everyone is banned from getting up from the table until everyone has written 300 words. These types of activities not only encourage you to get more words on paper, but they encourage you to utilize the writers around you, and allow them to utilize you. By encouraging and supporting each other, we all become better, more effective, and efficient writers.

NaNoWriMo offers various other inspirational resources. The NaNoWriMo organization gets professional writers from all over the country to send out encouraging messages to the participants of NaNoWriMo each week, as well as sending out new ideas on how to refresh your drive to write. If that isn’t enough, there are virtual write-ins for those in areas where there are fewer writers, or for those who are afraid of meeting strangers in coffee shops to participate in write-ins.

Word sprints are also great tools NaNoWriMo participants use to get words on paper, because, let’s face it, without getting the words out on paper, it is impossible to ever edit it up to be a best-seller. Word sprints can be done individually, or in groups in person or online. The idea of a word sprint is to write a set number of words in a designated period of time. Only have a half hour to write today? Make that half hour count by challenging yourself to write 500 words in that time. Seem crazy, impossible maybe? Try it. You’ll be surprised at how quickly you can prove yourself wrong.

Some of you are probably wondering why these resources can’t be used by writers who don’t write long prose, or during months when everyone isn’t jumping on a writing marathon bandwagon. Here’s the best part: they can be! These resources can be personalized to any writer. If you’re a songwriter, great! Go sit around a table at a coffee shop with a bunch of other writers, and get the words to a new song down on paper before you leave. When January rolls around and you get snowed in, utilize writing sprints to get entire scenes written between hot cocoa breaks. The important thing is to forge friendships with fellow local writers now so that you can plan write-ins throughout the year. It is important to learn new techniques, to take advantage of new (and free!) writing opportunities, and, most importantly, to get yourself started on a regimen where you make time to write. NaNoWriMo isn’t just a trend, it is a resource for all writers, one which you should take advantage of while it’s available.

So, once you’re done reading this blog, head on over to NaNoWriMo.org, start meeting new writers, start learning new techniques, open up that fresh, new word document, and start writing! Your novel is waiting.

GUEST BLOG: Frightening People, Terrifying Places, and Scary Things...

 

by Robert W. Walker

Author of Flesh Wars, Bloodscreams, Abaddon & more

How do we, as authors, get to the level of proficiency that readers send us comments like, “While I read your books, I have to put them out at night—on the porch”, or “I literally threw your book across the room, but crawled over later and finished it”?

That kind of compliment is music to the ears of suspense and horror authors, who are like big kids anxious to frighten our readers; we jump from the pages to shock you. But how do we manage it?

If we can frighten readers through use of our characters, our settings, and our props, then by all means we are turning our people, places, and things to good advantage and full-on use. We get there by means of the useful notion that the devil is in the details. Imagine, if you will, a child’s story—maybe Three Billy Goats Gruff or Charlotte’s Web, for that matter. In the one, we are convinced there is a troll beneath every bridge anxious to eat anything daring to cross it. Then the goat brothers sacrifice one another to the monster . . . creepy!

In the other tale, we have a spider coming to the rescue of a pig, and Charlotte and Wilbur have a full-blown relationship. The characters are fully realized—so much so that they come alive for the mesmerized reader. How can this be?

Details can sell us on any preposterous notion, as in my answer to spontaneous human combustion: creating a creature who smokes people the way we smoke cigarettes in my Flesh Wars books, or my witches in Abaddon who possess a young boy and direct him to become a serial killer. 

The reader is convinced to suspend disbelief through the careful planting of detail atop detail that uses all five senses and sometimes the sixth sense. It requires long and torturous rewrites to fully develop a scary person (antagonist or creature), a scary setting (loco-location), and frightful props (from ax, to cleaver, to Stryker saw).

Naming of names—be it people, places, or props—is also a way to get that fright factor working. Names are scarily specific—like Stryker saw—notice it gets capitalized as names should. The Lincoln Towers underground parking lot becomes even scarier as a modern-day haunted place due to the name, the specific location at Lincoln and Belmont in Chicago. (Notice more caps?) 

It is incumbent upon the modern author to find modern places to haunt, like a museum of modern art after hours, or a trailer park, or a single trailer in that park or … fill in the blank. Locations—and detailed locations at that—win the day when we wish to terrify.

In fact, it is true of any good writing that we want to be specific—all good writing is detailed to the nth degree; it is thesaurus-ing a mood, a point, a feeling, a wound, or a bleed out. We cannot get away with simply saying “it was hot” or “it was cold”—not by a long stretch—as we need to use every word possible that comes with heat (hot, searingly so), which must include sweltering, sweat, perspiration, and boiling, as well. For cold, we need to muster all the words at our command that show frigid, icy, ice-pick-shaped crystals beneath the nails painted with acrylic chartreuse, as in a fun house for my PSI Blue and Deja Blue.

So if there is a secret to scary writing, can it be that simple? Yes, it can, and yes, it is. As Stephen King puts it, “If you can’t legitimately scare the reader, go then for the gross out.” But even the gross out requires great attention to DETAIL.



About Robert Walker:

Award-winning author and graduate of Northwestern University, ROBERT W. WALKER created his highly acclaimed INSTINCT and EDGE SERIES between 1982 and 2005. Rob since then has penned his award-winning historical series featuring Inspector Alastair Ransom with CITY FOR RANSOM (2006), SHADOWS IN THE WHITE CITY (2007), and CITY OF THE ABSENT (2008), and most recently placed Ransom on board the Titanic in a hybrid historical/science fiction epic entitled Titanic 2012 – Curse of RMS Titanic. Rob’s next book, DEAD ON, is a PI revenge tale and a noir set in modern day Atlanta. More recently he has written Bismarck 2013, a historical horror title, The Edge of Instinct, the 12th Instinct Series, and a short story collection entitled Thriller Party of 8 – the one that got away. Rob’s historical suspense CHILDREN of SALEM, while a historical romance and suspense novel, exposes the violent nature of mankind via the politics of witchcraft in grim 1692 New England, a title that some say only Robert Walker could craft—romance amid the infamous witch trials. Robert currently resides in Charleston, West Virginia with his wife, children, pets, all somehow normal. For more on Rob’s published works, see www.RobertWalkerbooks.com, www.HarperCollins.com, or www.amazon.com/kindle books. He maintains a presence on Facebook and Twitter as well.

If you want to check out the titles mentioned in this blog, here are the links:

Flesh Wars 1
Abaddon
PSI Blue
Deja Blue

Constructing a Story Part 2: Builiding a Story

by

Charlotte Firbank-King

You have the glimmer of a story—basically the head and spine of your skeleton.

Make a list:

What genre is it?

Main protagonists—hero and heroine. How they look, their likes and dislikes, their flaws and strengths.

Main villain or villains—their looks, fetishes, etc.

Avoid back flashes as much as possible. Rather, write a prologue or weave the back flashes into the story through dialogue, but keep it BRIEF.

Don’t start the story with in-depth descriptions of the characters—make them natural through observation from a character or dialogue—again, brevity is the key word.

Every story has a problem that needs to be solved or there wouldn’t be a story.

We’ve had blogs on how to open a story—the first paragraph must capture the reader immediately—hook them.

Set the scene—give it atmosphere and ground the reader. Tell them where they are—the moon, Outer Mongolia, Bangladesh, or the Arctic. As you write, see, smell, taste and feel every single scene.

Present the problem or series of problems. Perhaps the hero finds a body. Now, we have a homicide or accident. He reports it to the heroine, who needs to solve it. This is where you need to be quite clear about “whodunnit,” but not the reader.

As you build the story, keep track of who is where and what they are doing at any given time. Make a list:

1) Joe finds body in car

2) Mary from NYPD is called to investigate

1 & 2: the problem to be solved 

3) Joe contaminates crime scene by hugging body

4) Mary furious with Joe

3 & 4: we have conflict between protagonists

Question that needs an answer:

Why did Joe hug the body?

Answer—the victim is his wife

Now Joe is a suspect

Enter Marc, the brother 

Joe accuses brother of having an affair with wife

Forensic expert discovers victim was pregnant

The baby’s DNA is not a match to Marc or Joe

This adds to the conflict and mystery.

All the while, you build atmosphere and tension—see and smell the car and surroundings where the victim is found—then the police station and the morgue. Show us Joe and Marc’s anger as they play a blame game—show us Mary’s frustration.

Make your reader fall in love with, empathize with, get frustrated by, or hate characters by fleshing out their appearance, traits, and personalities. But in small bites—DON’T do it all at once. You have the power as a writer to make readers feel what you want them to feel. Embroider on your characters as you go. Bring out their faults and strengths slowly. They must grow or deteriorate in a believable way.

Slowly, you build the story to a flowing climax. The character list will probably be added to, but watch the names. Don’t call one Joe and another Josephine. More tension as Mary gets to the truth—whatever you decide that might be. Keep the tension and atmosphere going. Watch the beginning and ends of chapters. Those were dealt with in one of our previous blogs.

Never start a story with cameos of each character’s traits, looks, likes and dislikes—that will just bore the reader—weave it into the story.

Don’t have too many unanswered questions, mysteries. Give the reader occasional clues without giving the game away. You can even lead the reader on a false trail to make the ending a shock, but that means keeping a tight rein on the plot.

Then start tying up loose ends as you work towards an ending.

Things to avoid:

Constant flash backs

A convoluted plot that becomes so confusing that you don’t even know what is going on. Keep it simple yet seemingly complex. Things have to run in a chronological order and be realistic.

Don’t create scenarios or coincidences just to make things work.

Show, don’t tell—see IFW tips.

Watch the point of view at all times and avoid head hopping—see IFW tips on POV.

Keep internal dialogue to a minimum, and don’t use too much internal or vocal dialogue as a vehicle to impart information.

Above all, the story must flow. Hook in the opening paragraph—the problem/mystery that needs an answer—build to a climax whilst resolving—then the final act where all is revealed. If the story has a sequel, then it ends on a cliff-hanger. 

In conclusion:

Research is vital. If you aren’t a forensic, gun, or knife expert—research it. Know nothing about cars or carriages? Depending on the era—research it. Even absolute fantasy needs research.

If your mystery/murder is historical, research even the manner of speech—but don’t go over the top with how they speak, especially when using the vernacular; you will just irritate the reader. Certain words weren’t in use a hundred years ago—check them first—the Merriam Webster dictionary is great for this.
Then edit, edit, edit, and edit even more.

Constructing a Story Part 1: Frankenstein

by

Charlotte Firbank-King

Like any journey one undertakes, planning is needed. Writing a book is no different. It’s a journey, a long one that will have you excited, frustrated and, at times, exhausted. Most writers have a story budding in their heads. If you’re like me, the stories rattling around in your brain can drive you nuts. I often just write these ideas and relegate them to a file where they may never see the light of day. Others won’t go away and I’m compelled to start. 

See your story as a body.

You are God in the story. You say which characters do what, how they look, how they act, what they love or hate, you control them all—not. Believe me, characters love to take control.

Back to the story. 

First you have a skeleton or even just a partial skeleton. Once you start writing, other ideas grow, then we add some of the organs, veins and arteries. At last we create a heart and brain, then cover it in skin. Well pleased with our efforts, we step back and decide it’s time for the first edit. However, some writers are so confident they decide it’s great as it is—well, maybe one quick edit—and then rush it off to a publisher they just know awaits their brilliant novel. 

You’re confident this is a bestseller. You pop the champagne and relax while you wait for the letter telling you that you are the world’s next great author. You’ve even spent the millions that will roll in. And what about the movie rights? Have to pick a suitable big star for the leading roll. Actually, throw in a few big names. Life is good while you think of a sequel.

Shock and horror, a rejection letter. 

Now you’re in denial. They’re nuts! Right? No problem, another publisher will recognize your brilliance. A hundred rejections later you realize they can’t all be wrong. Maybe an editor will tell you what the answer is—the publishers all tell you to get an editor. 

Not entirely flattened, you send it to some editors. They each send a quote and blow your socks off—what? The editors tell you there are plot flaws—actually the plot is horrific, non-existent—the story doesn’t flow—then you’re telling instead of showing—your characters lack soul—your story has no heart and there are too many back flashes—there’s not enough atmosphere or you aren’t grounding the reader—the grammar sucks—too many adjectives and adverbs—the list is endless. Now you definitely feel demoralized and demolished—brutalized, actually.

Read the story through the eyes of the publisher and editor—read it aloud.

Oh, my God, you have a Frankenstein! The brain is where the bowels should be, the heart is lurking in the anus—the eyes are misplaced and the mouth dominates the face. The nose is in the back of the head, and the feet are where the hands should be, in fact, a hand is missing. The bladder is gone, along with the stomach. Even you can see this thing is a horror story.

What went wrong?

You didn’t plan your body before you started creating it! Then you didn’t edit, edit, edit and edit more. The less you edit the higher the editor’s quote.

I don’t say you mustn’t just jump in and write like demon, but at least be aware that there will be problems, and your first body (draft) will need a major operation.

The first draft always sucks. Give yourself a break, a couple of weeks to lick your wounds, then dust yourself off and jump in.

Take on board every criticism you get—don’t listen too closely to family and friends unless they’re hard-core editors that love you enough to be honest. 

Next week’s blog will be on how to construct the “body.”

Children's Books and the Child's Character Trait Chart

by

Sandy Tritt

 

I was recently contacted by a gentleman, a children’s book writer, who asked me what resources we had specifically for writers of children’s books. He had purchased our workbook and was happy with it, but pointed out that our character trait chart was geared toward adult characters. So, I got to work and created a new CHILD’S CHARACTER TRAIT CHART. It includes some of the same fields as our old CHARACTER TRAIT CHART, but we’ve tweaked them to make them relate to children. 

Here are the fields in the chart: 

Full Name 

Goes By

Date of Birth

Age

Address/Particulars about Where Lives

Race/Ethnic Background/Nationality

Height Weight/Body Build

Hair

Eyes 

Peculiar Traits (Freckles, Limp, Etc.)

Smell

Voice

Usual Walking Style

Health

Mannerisms

Style of Dress

Favorite Drink

Favorite Food

School

Grade

Favorite Subject 

Intelligence

Birth Order

Lives With

Wants to Be When Grows Up

Best Friend(s) 

Worst Enemy

Most Important Possession

Hobbies/Recreations/Sports

Talents

What is a normal day like for this character?

Greatest Fear 

Major Goals

Views Family:

Family Views Him:

Views Friends:

Friends View Him:

Feelings Toward Animals:

Who is His Hero?


If you’d like to receive a free Word or PDF copy of this chart (formatted to fit on a single sheet of paper with space for your notes), please just shoot me off an email at IFWeditors@gmail.com, and I’ll be happy to send you one. If you’d like to see all our worksheets (this one hasn’t been added yet), as well as a collection of our tips and techniques, be sure to order our workbook (http://www.inspirationforwriters.com/products/workbook.html). And, of course, if you’d like an experienced children’s writer to edit and critique your children’s story, send it. A standard edit and critique is only $45 for up to 1500 words. (Please do not send payment until we’ve reviewed your story. We only accept stories we believe we can improve and that we believe will be viable). Email me at IFWeditors@gmail.com.

Shakespeare Revamped--Not

by

Charlotte Firbank-King



Many authors from bygone days, like Shakespeare, are eschewed by writers and described as difficult to understand and boring. I took A Midsummer Night’s Dream and modernized a few lines—how boring is that version? Not to mention, clichés were all that seemed to work.

I think it loses something vital and beautiful in the translation. Writers can learn a lot from the likes of Shakespeare, Dickens and even Homer.


THESEUS
Now, fair Hippolyta, our nuptial hour
Draws on apace; four happy days bring in
Another moon: but, O, methinks, how slow
This old moon wanes! she lingers my desires,
Like to a step-dame or a dowager
Long withering out a young man revenue.

Hey, sexy Hippolyta, not long before we tie the knot, babe.
Four days before the next moon rises and the nights sure drag.
Don’t get me wrong, I’ve had a cool time with you.
But, man, this old moon is slow to disappear, and I really have the hots for you.
That moon is like an old woman pushing my buttons.
And I don’t know how long I can hold back.


HIPPOLYTA
Four days will quickly steep themselves in night;
Four nights will quickly dream away the time;
And then the moon, like to a silver bow
New-bent in heaven, shall behold the night
Of our solemnities.

Relax, four days and nights will go in a flash.
Then a new moon will hang out in the sky like a sliver of light.
And hey, presto, we’ll be saying our vows.


THESEUS
(to PHILOSTRATE)
Stir up the Athenian youth to merriments;
Awake the pert and nimble spirit of mirth;
Turn melancholy forth to funerals;
The pale companion is not for our pomp.

Hey, Philostrate
Go get our Athenian buddies.
Tell then to snap out of it, catch a wakeup and organize a party.
I don’t want any long faces at our bash, like someone died.

 Exit PHILOSTRATE

I woo'd thee with my sword,
And won thy love, doing thee injuries;
But I will wed thee in another key,
With pomp, with triumph and with reveling.

Hippolyta, my darlin’, sorry I nicked you with my blade in that street rumble;
But, hey, it won your love.
I promise our wedding will be different.
I’ll show you a real good time with all the bells and whistles.



Not the same, is it? Perhaps Shakespeare is antiquated, but there is a lot we can learn from the poetic way he crafts his syntax.

Celebrate National Punctuation Day

by

Wilma Acree

(Grammar Guru)

National Punctuation Day (NPD) was founded by journalist Jeff Rubin in 2004 to draw attention to the importance of the correct use of punctuation. Its mission: to change the world, one apostrophe at a time. The celebration occurs each September 24 in the United States.
NPD maintains a web site (www.nationalpunctuationday.com) and a Facebook page. Rubin welcomes submissions of photos of incorrectly punctuated signs, plaques, ads, newspaper headlines, menus, or business cards (jeff@nationalpunctuationday.com). The organization sponsors a contest for students and adults each year. Www.wikkihow.com/celebratenationalpunctuationday suggests several ways to honor the day.

Why should writers care about correct punctuation? First, it helps readers understand your intended meaning. There is a world of difference in this classic example: (A) Let’s go eat Grandma. (B) Let’s go eat, Grandma. (A) Dines on Grandma while (B) dines with Grandma. Your errors won’t be that extreme, but they will distract and mislead your reader. Secondly, you want your reader to believe you are intelligent and industrious—not too stupid or lazy to learn a few rules.

I recently finished reading a novel with an intriguing plot and compelling characters. It told a good story and could have been a great book, but it was rife with errors, mostly punctuation. The author ignored common comma rules and made up some of his own. If I were rating this book 1-5, I would give it a 3 instead of the 5 it could have earned. If I pay $19.95 for a book, I deserve an edited story, not one that looks like a first draft.

Choose AP or MLA style and review the rules. Show respect for your reader by having someone knowledgeable proofread or edit your manuscript. Celebrate correct punctuation every day!

A Professional Edit Costs How Much?

by
Rhonda Browning White

You received your free sample edit back from a talented editor at Inspiration For Writers, Inc., and your editor pointed out issues in your manuscript that you didn’t even realize were there. Sure, you expected her to correct a couple of typos you may have missed, but you surely didn’t think your story contained passive voice, or inconsistent tenses, or lack of tension in the first paragraph. And you certainly weren’t expecting to learn that something that felt so clear when you wrote it is unclear to your readers (but upon re-reading, you now can see where it might be confusing). Perhaps you were surprised to agree with her when she pointed out that your main character is too flat or cliché. Upon reading—and rereading—your sample edit letter, and reviewing—over and over again—the changes in the sample edit, you understand that a professional edit is exactly what you need to take your writing to the next level.

But maybe you can’t afford it. (Why on earth do proofreads, edits, and ghost-edits cost so much, anyway?) First, let’s determine why the best editors charge fees that people new to writing may consider high. Did you know that the best editors hold writing degrees, are well-published, as well as teach at and attend conferences and workshops where they continually network with agents and publishers in order to stay on top of the ever-changing market? Did you know the best, most careful editors proofread an average of forty pages per day, edit an average of twenty, and ghost-edit an average of six? It takes a long time to do a good job. What kind of salary do you make in an hour? What kind of salary do you think a well-educated, professionally trained and skilled editor should make in that same hour? 

Okay, you say, the best editors work hard and deserve their pay, but I still can’t afford to have my 100,000-word manuscript ghost-edited! What are you to do? Will you give up? Will you let this tumbling block keep you from reaching your dream of becoming a published author?

Surely not! You deserve success!

So what options are available to a dedicated beginning writer who wants to reach publication level? First, you may want to consider having only a portion of your manuscript professionally edited. Make sure you submit the first chapters for professional editing, as these are the pages an agent or publisher will read initially. Purchase the highest level of service your editor recommends for your work, and send as many pages as you can afford. When your editor returns those pages to you, don’t just read them—study them. Study them hard! Print out your customized manuscript analysis, and read it multiple times, committing the lessons to memory. Carefully read the marked-up copy of your edit, and try to determine why your editor made the changes she made. If your editor suggested specific articles, books or websites on the craft of writing, read them. You can then apply those things you’ve learned to the rest of your manuscript, thereby improving both your story and your writing skill for your next project.

 It’s important to consider a professional edit as the investment it truly is—an investment in your writing career, and thus, your future. Can you forgo that extra-whip, double-shot, caramel-flavored latte a couple of times each week, and put that money toward an edit? Can you cook dinner every other weekend, instead of eating out, and put that extra expense toward your lifelong goal of becoming a published author?

Not only do you consider your edit as an investment in your writing career—the IRS does as well. Every penny you pay for a professional edit is tax deductible. (That is, as long as you hire a legitimate editing company that pays taxes, not someone who works on the side and takes money under the table.) This can greatly reduce your net expense. Also, Inspiration for Writers, Inc., accepts all major credit cards, as well as PayPal revolving credit. Know, too, that Inspiration For Writers, Inc. offers a variety of payment options that may help you acquire the level of service your manuscript needs.

It’s your story, it’s your dream, it’s your future. It’s up to you to invest in yourself and your future as a writer. When you are ready to get serious about your career as a writer, we are here to help you reach your goals.

If not now, when?

Concoctastory

by

Charlotte Firbank-King

 

Concoctastory 

(Bet that had you running to the dictionary.)

This is how we "concoctastory." Open a file called Story Outline.

First thing:

In the actual manuscript:

Under “Chapter 1,” I put in the era or year and location of the story in italics. It just grounds the reader, lets them know where they are. But that’s me and it isn’t imperative.

In the Story Outline file:

Put in the date you start the story, for your own interest. 

Give a brief outline of the story for your own benefit, but this will probably change dramatically. 

Next headings:

1) Names and details:

In the View tool, I tick the Navigation Pane, then go to the Paragraph tool under General, find Outline Level, and click on the down arrow—it will open up options. I always use Level 1 for chapter heading in the manuscript and various headings in the Story Outline for easy access. The first heading would be Brief Synopsis. Be sure to change it back to Body Text in the paragraph tool before going to the next line, or you’ll have a million headings.

Name of hero and heroine—hair and eye color, height, build, defining features, age marks, scars, deformities, habits, twitches, tastes, occupation, likes, dislikes, traits—good and bad—ambitions, goals, obsessions, status in society, domicile, marital status, siblings, parents, etc.

In fact, anything you may need to remember as the story unfolds. Many of these details will change as time goes on, but the physical traits will probably remain the same. 

If you name specific details about buildings, furniture, or other setting items, list them here.  If they are mentioned again, you don’t want a purple building or chair to be pink later in the story.

As you write, add each character’s name and physical appearance. One may start off with a cast of characters, but the story may need a new character. It’s all too easy to forget that Joe had cerulean blue eyes. One often errs and gives characters brown or green eyes later in the book.

Minor characters, like a barmaid or footman, don’t need a name if they only make one or two appearances. In fact, it’s better to keep names to a minimum. Only add a description if you gave them a specific thing like eye or hair color, a squint or limp favoring the left leg—you don’t want them favoring the right leg at another point.

The names of ships, streets, buildings and places must also go into this file as they crop up in the story.

Make a note of things like Elvis borrowed $50,000 from Danny the hobo. Or he gave Leonardo da Vinci a $1 tip for opening his chariot door.

Be careful to keep names varied—don’t have Joe in love, working with or related to Jasmine, or worse, Josephine.

2) List of possible names:

Make a list of cool names for male and female people, dogs, cats, horses or any animal names. I make a habit of putting the list in alphabetical order and use only one letter per memorable character—lesser characters aren't important, unless their relationship is too close to the character they interact with.

3) Publishing details:

The author bio, query, synopsis, letters for agents/publishers, plus back cover blurb and tagline. Or you can put them in a new file, then make a folder with the book title.

4) Background info:

Almost all stories need research. Put the books used or where you found it on the Internet or the person who gave you the info. You may need to go back and check something. I have a separate file with all research relating to that story, then put it in the folder mentioned above if I copy and paste from the Internet. 

You would be amazed at how many ideas come to you as you research.

Writing needs preparation like anything in life. There is only one problem: a story can take on a life of its own and change direction—just go with the flow, be sure to change things in the Story Outline if you alter something. 

Above all, let the creative juices flow and enjoy the ride.

Finding an Editor in Today's Market

by

Sandy Tritt

 

 

When Inspiration for Writers, Inc. went online in 1998, there were only three other companies on the Internet. Now, there are literally thousands of editors there. Thousands. Anyone can claim to be an editor. There are no tests, no licenses, no applications. And, unfortunately, nothing will destroy your writing career faster than a bad editor. It’s so disheartening to see so many unqualified editors taking money from unsuspecting writers—and then making an absolute mess of that writer’s work, often not only ruining the manuscript, but also the writer’s confidence. 

 

Some editing firms have only one editor—which could leave you in a rough spot if that editor were to suddenly take ill or have an accident. Or, even worse, simply decided that editing was hard work and took off with your money. Some editing firms have zillions of editors who bid on projects, with your manuscript going to the one with the lowest bid—regardless of his or her qualifications as an editor or in your genre. Some editing firms feature a list of hundreds of editors available for clients to select from, with preference given to the "fastest" editors—those who edit the most words per day with no weight for quality. One company promises that any manuscript under 65,000 words would be delivered in five days. That’s 13,000 words a day. (Our full-time editors average 5000 words in an 8-hour work day). 

 

As far as I can figure, IFW is now the oldest continuously-in-business editing company on the Internet today. We have grown from a one-person editor to a company with twelve editors, a web guy, a grammar guru, and an intern. 

 

So, why have we survived when so many others have come and gone? 

1.  Our editors are professionals. Most have a minimum of a master’s degree in English, are well-published, have won many awards, and are active in the writing community. Editing is not something we do on the side after working all day at a day job. Editing IS our day job. 
2. We have integrity. We are honest in all our dealings. We let you know up front what a job will cost, and we do not have any hidden costs that pop up later. 
3. We provide excellent value for the work we perform. While many editing companies appear to be less expensive, when you add in the “hidden” costs (fees for more than a pre-determined number of corrections, hourly fees for responding to questions, fees for quick turn-around, fees for telephone consultations, etc.) and the high quality of our service, others cannot compare. 
4. We treat our clients the way we would want to be treated. We treat our clients with respect and with kindness. We are honest with them, even when what we have to say is bad news. When we edit, we evaluate the manuscript, not the client. 
5. We provide ongoing service long after we’ve edited your manuscript. We’re here—and will continue to be here for you—for as long as you need us. We can advise you on your writing questions and be your sounding board. It’s what we do. 

At Inspiration for Writers, Inc., we believe writers deserve the best editor for their individual needs. Therefore, our editors never bid or otherwise compete against one another for projects. Instead, each manuscript is evaluated, and the editor who is best suited for the particular genre and writing level is given the job. All our editors are published authors with extensive editing experience and excellent grammatical skills. Each editor has gone through a rigorous training program that includes an apprenticeship before being certified by Inspiration for Writers, Inc. Additionally, Inspiration for Writers, Inc., employs only editors with high ethics and excellent people skills.

 

Before hiring an editor, do your homework. Google both the company and the individual editor. What do other people (not their own website) say about them? Are the editors published by traditional publishers (not self-published)? Are the editors active in the writing community? Do they give workshops? Speak at writing conventions? Teach at the university level?

 

To make sure we have the best match between writer and editor, Inspiration for Writers, Inc., provides a free sample edit for manuscripts over 20,000 words. We want our writers to be comfortable with the personality, style and expertise of our editors. For truly, the writer/editor relationship is a close one, and the writer must feel comfortable asking questions and receiving feedback. If your editor isn’t your trusted friend—the person who is there to guide you and protect you while never leading you astray—you need a new editor.