Please welcome guest author P. Wish with an insightful post that features eight ways to write better horror stories.
So you want to write better horror? The question is, how?
This article breaks down the process into eight easy tips, focusing on how to find inspiration, the right setting, and support system for your work.
1. Turn on Some Spooky Music: Music helps create the right atmosphere for writing. Atmosphere is especially important for horror stories as the fear factor rides on it. If you’re writing an anticipatory scene, try something like “Moonlight Sonata” (the first part). If you’re writing the climax, listen to a piece that is more dramatic. You could also use music by your favorite rock bands or pop artists. So turn on some scary music and get writing.
2. Watch Horror Movies: Horror movies help you visualize the structure of a horror story. Compared to books, movies are a quicker way of learning. They also give you an overview of plot, tone, atmosphere, and characters in under two hours. This not only helps build your storytelling and plotting skills but also helps you establish the tone of your book.
3. Read Mythology: This is essential for horror writers. Most horror revolves around paranormal phenomena and myths. Poltergeists, ghosts, shamans, Yetis, and monsters are all characters from folklore. To broaden your range of inspiration, try reading myths from other parts of the world. Japan has some amazing myths about vengeful female ghosts and other interesting supernatural creatures. Such myths also exist in many other parts of the world. Drawing on a broader range of inspiration will make your story unique.
4. Stay up to Date: Keeping up with research in parapsychology, metaphysics, telekinesis etc. is a good place to start. The findings in these fields directly influence your story’s content. Stephen King, in his interview with the Guardian, said that an article about poltergeist activity and its relation to telekinesis served as inspiration for his masterpiece, Carrie. Staying up to date with research in this field will help you form ideas. These ideas lie around in your mind until the find they right character or plot to get them going.
5. Write in the Dark: The dark creates the right atmosphere for ideas to flow. I can’t emphasize how important atmosphere is for horror. Horror is largely dependant on the setting and atmosphere. Movie theatres use this tactic to enhance your viewing experience. It works for writing too. Writing in the dark helps you focus. It also creates an atmosphere of non-judgment and freedom. Both of these account for better ideas. You may also find that you’re more productive when you write with the lights off. So set aside an hour or two at night to write in the dark.
6. Study Horror Novelists: The lives of horror novelists are a source of learning for any aspiring writer. Read and watch interviews, subscribe to their blogs, and follow them on social media. Their posts might be your source of inspiration. Seeing them do it day after day motivates you to write something new. Their struggles may inspire you. There is a treasure trove of useful information hidden in a writer’s autobiography. Following your favorite horror writers on social media is the next best thing. It helps you understand their writing process and emulate it.
7. Use an Idea Generator: Idea generators are often thought of as generic, useless, and rehashed. This is because writers make the mistake of copying the suggestions given by the generator. Choose a generator that is specific to horror and tailor the generator’s outputs to your story.
8. Read the News: The news is more grim than you think. Stories about events such as kidnappings or poltergeist activities are relevant to horror writers. If you want to receive specific news, subscribe to the RSS feed of your favorite news channel. The news helps bridge the connection between fantasy and reality. It can also be a source of inspiration to horror writers.
I hope these tips help you write better horror stories. Feel free to combine the tips and use them in any order that fits with your writing style.
About the Author: P. Wish is a self-published author, illustrator, and blogger. You can find more information about her on www.pwish.net.
Please welcome guest author Sarah Juckes with an article on publishing.
You’ve been submitting to agents for a while now, and although you’ve had a couple of close calls, your book is still unpublished.
At this point, it can feel like you’ve reached a fork in the road. Do you keep going down the agent path, unsure if there’s anything at the end of it? Or do you take the self-publishing road, with its possible pitfalls?
Many writers don’t realize that these two avenues to publishing actually run parallel to each other. You can switch between the two, so your book reaches as many readers as possible.
Start with Self-Publishing
I’ve been working in self-publishing for five years now, and I’ve noticed a real increase in the number of authors who are choosing to self-publish while they continue to look for a literary agent.
Why? Here are some of the reasons I’ve heard in the last year:
- Getting an agent is taking a while; I have readers who are waiting to read my book right now.
- I want to get feedback on my work.
- I want to feel like I am doing something positive with my writing career while waiting for responses.
- I might as well earn money from book sales while I’m waiting to be discovered.
All these reasons make sense. Thanks to the wealth of opportunities now available to writers, you can pick and choose your own career path to suit your goals.
Authors who choose to self-publish while looking for a literary agent are able to capitalize on the perks of self-publishing: a quick avenue to market, high royalty rates, and the ability to maintain a high level of control over the book. Thanks to self-publishing success stories, such as E.L. James and her Fifty Shades of Grey series, agents and traditional publishers are now actively looking for self-published authors and are ready to take their books to the next level with the expert editing, design, and marketing that often comes with traditional publishing.
Agents and publishers will contact self-published authors who prove their book has a market.
Author Kerry Wilkinson was taken on by traditional publisher Pan Macmillan after his ebook series rocketed on Amazon and caught the eye of a commissioning editor. In an interview with The Guardian, Kerry explained how he’d managed this:
“After writing Locked In, I always knew I was going to write more in the series because I had so many ideas left over. I wrote and wrote more or less every day for a year – early mornings and late nights. Because I knew there was more to come, I put Locked In at 98p, trying to sell in bulk, rather than worrying about money. The subsequent books sold for increasing amounts. Pan Macmillan have more or less continued that.”
Agents are also actively searching writing platforms (such as Wattpad) and Twitter hashtags (such as #askagent), looking for books that have a clear readership and are generating excitement. Authors who use these platforms to reach as many readers as possible stand a good chance of getting discovered.
The Dos and Don’ts of Approaching an Agent
Here are some guidelines for self-published authors who are contacting agents:
DO: Continue to follow the agent’s submission guidelines. Give them any specific information they ask for. There’s more information on writing a cover letter to an agent here.
DON’T: Send an agent a copy of a book they can’t access – either in an ebook form or via an Amazon link.
DO: Ensure the book looks as great as it reads. It’s easy to be put off by a bad book cover, no matter how good the writing is inside.
DON’T: Overload a pitch with book reviews from family and friends. If an agent is interested, they will seek the reviews out for themselves, so work on making these plentiful (particularly on Amazon).
DO: Add in sales data (if it’s particularly high), any awards the book has received since its release, and links to high-profile endorsements. Insights such as, ”This book has proved popular with X people” might also be useful – but DO keep these to the end of the cover letter and as succinct as possible.
Carve Your Own Path
There’s no one correct way to get your book published. The wealth of opportunities available now means that authors are equipped with tools to carve their own paths, whether that involves self-publishing, traditionally publishing, or using emerging digital platforms. Walk the roads that make the most sense for your personal publishing goals.
So, over to you. What have you learned from self-publishing and submitting your book to agents?
Sarah Juckes is a writer and Communications Manager for CompletelyNovel.com. In 2013 she pioneered a partnership between CompletelyNovel and Greene & Heaton literary agency that sees top self-published books sent to literary agents for review each month. More information about the scheme can be found here.
Please welcome author Nicolas Frame with some good advice on writing your first author bio.
It’s an invigorating feeling, receiving one’s first acceptance letter from an editor. We want your piece. Yay! Pop the champagne cork, and put a party hat on your cat. But at the end of that email, you’ll usually realize they want you to provide an author bio.
This can be horrifying, and we authors often fret more over writing our bios than our stories. After all, stories are fictional. Our author bios are supposed to tell the world who we are and about our writing. It can be intimidating to think so introspectively.
Whether you’ve actually received that acceptance letter or you’re just getting your bio ready in anticipation (good for you for being prepared!), the following should help you understand what you might want to include and avoid in your author bio.
Writing Your Author Bio
It’s difficult to craft an author bio when it will accompany your first published piece. What can you say about your writing? They’ll know you’re nothing more than a first-time amateur, right? Relax. It’s actually a great opportunity for you to showcase yourself as an author.
Author bios are really no different than any other type writing, except you must think of yourself as the main character. And you want to market this character. Think about how your friends might describe you or how you might introduce yourself to someone at a networking event (because, you know, we all go to such things). What are some major parts of your life that you don’t mind the general public knowing about you?
What’s your long-term goal as a writer? Do you have a novel in the works? What genre do you want to be known for? These are just a few basic questions to consider. It’s also perfectly okay to tie in some personal facts like where you live, how many cats you own, whether you’re married, and what your day job is. You are by no means obligated to include any or all of these details. The only rule for an author bio, and it’s more of a guideline, is to make sure you are writing an author bio. What you include should focus on who you are as a writer, not what you’d share in your personal Facebook or Twitter profile.
Things to Include in Your Author Bio
Talk about why you’re qualified as a writer. If you wrote a story about being a long-haul truck driver and you have held this as your day job for the last eight years, that’s worth noting.
Take this opportunity to really sell yourself as an author. You may have heard it before, but I’ll tell you again anyway: Everything you write, from emails to editors to your bio to your actual stories, showcases you as an author. Think of your bio as a bonus addition to your published pieces that you can use to show how skilled or talented you are.
Check out other authors’ bios for ideas. Do some make you laugh? What was funny? Are some lame? Why? If you notice trends, make note of them. For example, authors with a lot of publication credits will often only mention the most notable ones. This will be useful when you start racking up the acceptance letters.
It doesn’t hurt to have a current, professional headshot ready to include upon request.
Finally, be sure to include a link to your website or blog.
Things to Avoid in Your Author Bio
One thing to avoid, especially in your first bio, is mentioning that this is your first publication.
Also avoid mentioning anything you might regret later. Your bio will be burned into permanent existence in print or on the Internet. Remember that before you crack jokes about your in-laws, talk about how you write at work when you should be working, or shout out that hottie you’ve been dating for a few weeks.
Be careful when mentioning dates or specific timelines. For example, it’s better to write, “She hopes to have her sci-fi novel completed soon” instead of “She hopes to have her sci-fi novel completed in 2014.” Dates come and go. If you miss your own deadline you’ll look unprofessional.
Stay away from spammy paragraphs drowning in links to every social media account you have. Focus on showcasing one or two links (at most), which you update regularly and are related to your writing. In other words, keep it relevant.
Multiple Versions of Your Author Bio
You’ll eventually need to craft multiple versions of your author bio. Some publishers want bios under a certain word count. Others want serious and professional bios only. Sometimes you will have to make a judgment call about whether to send off a tell-all or a humorous one-liner. You’ll also want a lengthier version for your author website or blog.
A great technique to use when approaching your bio is to create a long version, in the third-person of course, and then when you submit your work to agents or editors, you can take the bits that fit that particular submission or publication best. If you’re sending a romance story, you’ll probably want to edit out the parts about you being a single person with nine cats. However, if you were submitting to a humor column, the editor and readers might find owning nine cats an appropriate chuckle-worthy addition.
Ready to Write Your Bio?
One final note: revise! After you craft a great bio that brands you as a writer of a specific genre and that markets your website to readers and mentions your newly purchased hairless Sphinx cat, you’ll be ready to send it off. Don’t. Wait a day or two and revisit it. You’ll likely find a few things that can be restated more succinctly or unnecessary redundancies that can be eliminated.
About the Author: Nicolas Frame is an author of short fiction, nonfiction articles, and some poetry.
Please welcome guest author Ali Luke with some top-notch advice on how to reconnect with your writing when you’ve lost touch with it.
Are you a writer who’s not currently writing?
It happens to all of us at some point – often more than once.
Life gets busy and priorities change. Perhaps you’ve gone from working part-time to working full-time, or you’re expecting a baby, or you’re moving house.
Whatever the reason, you’ve set your writing aside. You might have intended to do so just for a few weeks. You might not have realized you were doing it at first: one missed writing session gradually turned into a couple of months without writing.
You’ve probably discovered that not writing can become a vicious circle. You lose touch with what you’re working on, the effort involved in picking it up again seems greater and greater, and your confidence takes a knock too. Even when life calms down, you find days, weeks, even months going by without any writing.
Here’s how to turn things around:
Tackle a Writing Prompt for Five Minutes
The best way to get back into writing is to just write. If you haven’t written for months or years, the whole idea of beginning again can seem like some huge event that needs special preparation.
You don’t need to begin your journey by climbing a mountain. Instead, take a few steps along the writing road. You might find that this is enough to break through your initial resistance and get you back into your writing.
Do it: Pick a writing prompt to tackle; you can find loads here on Writing Forward. Set a timer for five minutes and write.
Set Aside Some Time When You Can Write
Look at your calendar for the next week or two. Can you find an hour, or a couple of hours, to set aside for writing?
Do it: If you know you’ll struggle to write at home, find an hour when you can be out of the house – e.g. during your lunch break at work, in a coffee shop after work, or even in a library first thing on Saturday morning.
Read Over the Project You Were Last Working On
Chances are, you stopped writing part-way through a project. If so, one key step to getting going again is to read through what you’ve already written.
You might find yourself cringing at the thought of doing so (maybe you’re convinced everything you wrote was awful), but give it a go. Even if you’re not happy with the whole thing, you’ll likely find at least some sentences, paragraphs, and pages that make you fall in love with your work again.
Do it: Try to read like a reader. Transfer your book manuscript to your e-reader, or browse your blog posts on your tablet. (I like doing this with a cup of tea and some chocolate in hand!)
Decide Where You’re Going Next
You’ve got three different options now:
- Resume your project where you left off. Write your next blog post or your next chapter.
- Take a new direction with your project. Cut out a character or two, or change the backstory. If you’re blogging, you might go for a different posting style or change of topics.
- Scrap your project altogether. It’s valuable for what you learned in the process, but if you’re no longer interested in pursuing it, scrap it and start something new.
Do it: Be honest with yourself. It’s fine to pursue a project you enjoy, whether or not it’s likely to be financially rewarding or otherwise successful: don’t be put off finishing your novel because you feel you “should” be spending all your writing time on something else. On the flip side, if you’ve lost interest in a project, admit it and move on.
Establish a Solid Writing Routine
If you want to keep up your writing momentum and avoid slipping away from writing again, you need a strong writing routine, one that involves writing consistently and regularly.
That doesn’t necessarily have to mean writing every single day, but it does mean having at least one writing session a week and trying to stay connected to your work between sessions. (For novelists, that could mean daydreaming while doing the dishes; for bloggers, it might mean reading blogs on a similar topic, answering comments, or brainstorming post ideas.)
Do it: Put your next three writing sessions on the calendar. Look ahead for any special events that you want to attend. These can be a great way to boost your motivation and commitment. You might look for local writing classes, writers’ groups, or conferences you want to attend.
Have you ever taken some time away from writing? What made you return and how did you get going again? Share your experiences and your tips in the comments below.
About the Author: Ali Luke can be found blogging all over the web, but her home base is her blog Aliventures where she writes about the art, craft and business of writing. If you enjoyed this post, try her free seven-week e-course, On Track, designed to help you get going again with a big writing project.
Please welcome guest author Alyssa Hollingsworth with tips on writing dialect.
I’ll be honest: I’ve always been terrified of dialect because it’s easy to get wrong. But when done well, it can make a story shine.
When you’re writing in first person, it is important to consider who your narrator is and how she or he speaks (or writes, as the case may be). This is important whether you’re writing contemporary, historical, or fantasy fiction.
When I found myself blundering into a story with a first-person narrator who was from backcountry, I knew I needed to clock hours on the dialect. There are a lot of helpful posts about how dialect should or shouldn’t be done, which can be found on Daily Writing Tips, The Editor’s Blog, or Writer’s Digest.
Before we begin, there’s an important distinction to be made between dialect and accent. Here’s the official definition from the British Library:
A dialect is a specific variety of English that differs from other varieties in three specific ways: lexis (vocabulary), grammar (structure) and phonology (pronunciation or accent).
Accent, on the other hand, refers only to differences in the sound patterns of a specific dialect.
With that in mind, below are some practical steps you can take to equip yourself for writing dialect.
Brainstorm or Research Regional Turns of Phrase
Place and environment often have a big impact on the development of people and language. The first thing I did was made a list of things that would influence this environment. For my fantasy world, these were mostly forests, woods, and farmland.
I tried to think about environmental ways to express happiness, sadness, and anger. How would a woodsman swear? What words from his surroundings would he use to express himself?
This works across environments — whether your characters are seafaring pirates or overcrowded city dwellers, you can use the setting to influence the language.
When you’re relying on a real dialect, do some research and make lists of interesting words commonly used.
Listen and Take Notes
Listen to Real People
If you’re fortunate enough to live near people who speak in the dialect you want to write, spend a lot of time with them or eavesdrop at a coffee shop. But if you’re not near your desired dialect, take to YouTube or to language resource websites.
Listen to Celebrities
After listening to locals, sometimes you might find yourself growing used to a strong accent. It helps to then turn to celebrities and celebrity interviews. Their accents and dialects are often much lighter than the common folk you’ve been spending time with, and it’s useful to keep the range of the language in mind while you’re writing.
Listen to Audiobooks
Find one or two audiobooks that are read in the accent you’re working with. It can be helpful to pick a reader who’s the same gender as your protagonist or find books written by local authors in the dialect you’re researching. Listen to a chapter or so before you sit down to your own project; this will help get your head in the voice.
Whichever way you choose to listen, make sure you take notes. Whenever you come across words that are interesting or unique (like “I’m bladdered” for “I’m drunk”), make a note of it. Listen for sentence structure differences or little tacked-on phrases. Especially pay attention to how verbs are used — often there are some hallmark ticks in verbs. You can use these in your writing.
If Appropriate, Do an Accent Lesson
Beyond taking notes, part of the point of listening so much is to help you internalize the language. Even if you will not be writing out the accent (see the links above for reasons why you might not want to), it’s good if you can clearly hear — and even speak — the accent. This helps you hear your character’s voice and can make it easier to fall into the dialect.
I found Access Accents (on Audible and iTunes) extremely helpful for this. These voice lessons are normally under an hour long and consist of people chatting about the accent and how to do it.
Write Your Character Describing Something
You don’t have to wait until you’re fluent in dialect to start writing, because part of learning the character’s voice will be writing it out.
One of the most helpful exercises is to write your character describing something, such as an event or a scene. Sometimes it helps to draft this in a heavy accent before you go back and edit it. But ultimately, you should challenge yourself to write with no accent, and instead use only grammar and unique phrases to create a distinct voice.
Here are a few prompts for things your character can describe:
- A familiar place she or he loves
- A place she or he has never been
- A childhood memory
- A traumatic event
- A loved one
- An enemy
Read Aloud and Revise
Finally, it’s time to read what you’ve written aloud. Keep a pen handy and mark any places where you stumble. Normally there’s a reason, and you might have to give up a few of your favorite phrases for the sake of clarity.
It’s also important to let native dialect speakers read the material. Since they won’t know your characters as well as you do, they can offer valuable advice about how the dialect is coming and whether or not it’s comprehensible.
At the end, you’ll have a beautifully narrated piece that perfectly complements your story.
About the Author: Alyssa Hollingsworth was born in small-town Milton, Florida, but life as a roving military kid soon mellowed her (unintelligibly strong) Southern accent. Wanderlust is in her blood, and stories remain her constant. Alyssa received her BA in English and Creative Writing from Berry College and her MA in Writing for Young People from Bath Spa University. She has been previously published in Lunch Ticket, Berry Magazine and Letter to an Unknown Soldier. She regularly writes about the writing process on her blog.
Please welcome guest writer Bessie Blue with some tips on polishing your manuscript.
Have you ever written a first draft and edited it in next to no time? You found three grammar mistakes—typos, really—and your outline was so solid there were no plot holes.
As you sent your story to writing contests, you were bothered by a nagging thought: you just knew you could still improve your manuscript. But you didn’t know how.
So off the story went. And sure enough, it wasn’t accepted into a single contest.
I’ve struggled with this problem, and I’ve learned a thing or two about editing and proofreading.
Is Your Writing Awkward?
Sometimes, sentences don’t sound quite right. When editing my own work, I’ve often come across sentences that were plain ugly. I couldn’t put my finger on why. Grammatically, they were correct. Every word was spelled correctly. The punctuation was accurate. But in each sentence that gave me pause, something was off.
Like this sentence: “The day passed without my even noticing her.”
Technically, it’s correct, but it sounds wrong. There are many ways to rewrite it, such as:
“The day passed and I never noticed her.” Or: “I didn’t notice her all day.”
Often, clunky, awkward style is the result of taking a long time to reach the point. In the above example, I could have expressed my idea in fewer words. As you proofread your manuscript, ask yourself this: “Is my style concise? How I can rewrite this phrase to get to the point more quickly?”
Why You Shouldn’t Always Write in Active Voice
As you edit your draft, you may be tempted to change all your sentences to active voice.
Most of us have heard that we should favor active voice in our writing. But I’m not a fan of this blanket-statement type of advice. In fact, active voice can often be blamed for awkward and clunky passages.
Yes, it’s true that writing in active voice can create more dynamic writing—at times.
But there’s a reason passive voice exists. Look at the following passages:
- “Mold covered the walls in the bedroom.” (Active)
- “The walls in the bedroom were covered with mold.” (Passive)
At first glance, there doesn’t seem to be much difference between these two sentences. But imagine the first sentence in the context of a paragraph that describes the bedroom. Including a sentence that puts so much emphasis on mold rather than on the bedroom could interrupt the flow and understanding of the paragraph.
When deciding between active and passive voice, my advice is to ask yourself two questions:
- What is your passage about? Match the voice to the type of scene you’re writing. Is it active or descriptive?
- Who or what is the main point of your sentence? In the above example, we care about the bedroom walls, not mold, and passive voice correctly puts emphasis on the walls.
How To Write Like a Poet
You may never have written a poem before, but as a writer, you’re a poet. That’s because rhythm is just as important to writers of prose as it is to writers of verse.
As you edit your draft, think of each line as a verse belonging to a poem. Does it read well? Does it flow? Does it have rhythm?
I’ve created an equation to help myself write like a poet. Here it is:
Sentence variety + word choice = rhythm
Alternate long and short sentences for good rhythm. Use shorter sentences during tense or high-action moments. Prioritize longer sentences during descriptive scenes.
Choose words wisely in your prose just like you would in a poem. Read your chapters aloud, and if the fluidity is interrupted by a word, rework the passage or find a synonym.
Sometimes, you will find that a paragraph has too many adjectives and adverbs. Try removing them—you may be surprised to find that your passage reads better and we can still understand it!
However, don’t automatically remove your adjectives and adverbs. While many dislike this class of words as they’re not really necessary to convey meaning, they can be important for style or rhythm purposes.
Are You Writing With Your Readers In Mind?
You should have identified your audience before you began to write. Now it’s time to make sure every passage in your manuscript has been written with them in mind.
Are you using words and expressions that your intended readers will understand? Is your language accessible? Are you writing at, above, or beneath their reading level?
Once you’re confident with your manuscript, hand it over to a test audience. I write for kids, and I love seeing their honest reactions to my work. While you may be tempted to ask for critiques, I’ve found that the best way to see if you’ve done your job is to watch your readers. Are their eyes glazing over in boredom or have you hooked them?
What about you? What do you find more important: language or content? Will you be using these tips as you edit and proofread? Share your thoughts in the comments.
About the Author: Bessie Blue is a freelance writer, copyeditor, and translator. She gives writing advice and waxes nostalgic about classic children’s books at Vintage Book Life. You can follow her on Twitter (@vintagebooklife).
Please welcome guest author Lisa Tener with a post on connecting with your muse as a way to overcome writer’s block and achieve better creativity.
Maybe you’re familiar with the term muse, which comes from the ancient Greeks and refers to the goddesses who inspire the creation of literature and the arts.
In my work with writers, I often refer to “the muse” or “your muse” as a point of access for inspiration and as a resource to get out of a rut, unblock, find clarity on a particular question, and consistently write in a state of flow.
You can think of your muse as an aspect of yourself—imagine a part of you that has solutions for every creative challenge. It has the power to shift negative beliefs and habits that get in the way of your creative flow. Your muse can boost your creativity and help you tap into it with ease. Your muse may help you find the perfect title or even the perfect time of day to write.
When you feel stuck, your muse can shift something within you: a belief that no one will be interested in what you have to say, a tendency to procrastinate, the voice of a former teacher who told you that you couldn’t write—a voice you may have internalized. This can be an especially powerful experience with the muse.
Take Vicky, who felt confused and overwhelmed as she stared at a new blank page, surrounded by sticky notes and several versions of the first chapter of her book. She had tried several different structures and still felt she didn’t quite have it. To get unstuck, she asked her muse for clarity. She imagined her muse as “much larger and wiser than me” and trusted it to guide her. She promptly fell asleep. When she woke up, she returned to her desk to write the chapter and the writing flowed. The new structure worked beautifully, and she was satisfied that she’d found the answer to organizing the chapter.
Beth also felt overwhelmed. She felt passionate about her subject—natural birth—but questioned who she was writing for (people who were already sold on the idea or those who were searching?) and how to write in a way that would resonate with them. In a guided visualization, Beth spoke to her muse, saying, “Show me my readers and how to write for them.” Her muse provided a little guidance but also revealed that she would gain clarity soon. That afternoon, Beth sat next to a young woman on a bench. Their conversation turned to Beth sharing her childbirth experiences. She suddenly knew to write her book as if she were speaking to this woman, in a conversational style.
Your muse knows exactly what you need at any given moment to support your writing and other creative processes.
For some, the muse appears as a wise being—an angel, a spiritual guide, or even God. For others, animal guides are common—wolves, jaguars, or even mice. I remember a woman in one workshop who felt disappointed when her muse appeared as a frog—until she connected the frog to her throat chakra (self expression) and to fertility (or creativity). Frogs are also quite magical in fairy tales and indeed she experienced her muse as magical. Your muse may offer many layers of symbolism—both in how it shows up and in any answers it provides.
Sometimes the muse is more vague—a color, light, or a sense of connecting with something. That’s okay too. If you find yourself asking, “Am I making this up?” tell yourself it doesn’t matter. Just go along with what you get. If you hear your own voice in your head, that doesn’t mean it’s not your muse.
This inner wise being can:
- Replace feeling bewildered or overwhelmed with clarity
- Help you focus and know your next steps
- Support you to break through blocks
- Help you experience your brilliance and creativity
- Provide answers about creative projects
How to meet your muse and tap into its wisdom:
- Sit in a chair with your feet on the floor and close your eyes.
- Notice how it feels to be sitting in the chair. Feel your body.
- Bring your attention to your feet on the floor. Notice your breath.
- Now imagine you are walking in a favorite place in nature.
- As you walk along, you come to a spot where your muse is waiting for you. You can ask your muse questions or request support to move through a block.
- Your answers may sound like the inner voice in your head, or you may see an image, or you may experience something more kinesthetic, like an inner shift. Any of this is valid.
- You may wonder, Am I making this up? Don’t worry. It doesn’t matter if you are. Just trust that this is what you need to hear.
- When you’re ready, thank your muse and see yourself returning the way you came.
- Open your eyes and write down your answers.
You can access your inner wisdom and creative source at any time with this exercise. The more you do it, the easier it gets and the deeper your relationship with your creativity and muse. You can use this process for writing projects, creative projects, or any issues in your life.
Download the free audio recording of “Meet Your Muse” to take your through the guided visualization.
About the Author: Lisa Tener is an author, writing coach and four-time Stevie Award winner, including the Silver Stevie Award for Mentor/Coach of the Year 2014. Lisa serves on faculty at Harvard Medical School’s CME publishing course and blogs on topics like how to choose a literary agent. You can also read her posts on the Huffington Post. Follow Lisa on twitter @LisaTener.
Please welcome guest author Alana Saltz with a heartwarming article on writing memoirs.
As a genre, memoir has been growing exponentially each and every year. More and more people are finding the strength, courage, and determination to write about their experiences in a compelling and literary way. The success of memoirs like Cheryl Strayed’s Wild and Augusten Burrough’s Running With Scissors, which were both adapted as feature films and released in theaters worldwide, help demonstrate that the world is slowly beginning to embrace the genre.
I’ve been a fan and advocate of memoir ever since I first learned what a memoir was. At only twelve years old, I already had an interest in someday sharing stories from my life with the world. I felt like I had something to say, and as much as I enjoyed making up stories either from scratch or based on things I’d been through, having the ability to tell my own story was very appealing to me.
As an adolescent, I struggled with severe anxiety disorder and depression. Knowing that I could write about the difficult, frightening, and remarkable events that occurred helped me get through some very tough times. I was comforted by the thought that eventually, I would make what happened to me and what I went through matter. I could help other people suffering from mental illness by sharing my story, the way I found comfort in reading the stories of others. I’ve carried that hope and goal with me for many years, finally leading me to pursue an MFA in writing to help me write about my life in the most powerful and readable way possible.
That urge and desire to write about my life has been part of me for a long time. It feels natural and right. But many people have been swayed away from the idea of writing a memoir for a number of reasons, many of which are inaccurate or unfair.
First, people might not think they’ve been through anything meaningful or important enough to write about. I’m of the belief that any story can be meaningful and important if it’s told in an engaging and relatable way. What really matters is the heart of who you are as a person and what universal themes and messages you can extract from what you’ve experienced. Memoirs aren’t just personal stories – they’re personal stories that illuminate larger issues that many face and experience.
Others might worry that memoir writing is an act of narcissism or navel gazing. On the contrary, I think memoir is a natural, authentic, and altruistic form of writing. To openly and honestly share your experiences, stories, and vulnerabilities with the world in the hopes of reaching and connecting with others is one of the least narcissistic endeavors I can imagine. It’s something to be admired, not condemned.
Finally, I know a lot of folks who are concerned with the personal ramifications of writing a memoir. My own family and friends have asked me why I couldn’t just write my story as fiction or use a pseudonym. I tried to explain to them that I wanted to stand by my story and what I went through. I wanted to put my name on it. To me, it was worth any potential issues to be able to say that what happened was true, to connect on a genuine and real level with my readers.
I did worry about what a certain family member, my father, would think when he saw what I had written about him. I tried my best to be fair in my portrayal of our relationship and allowed him to see the manuscript when it was finished to correct any misrepresentations I might have made. To my surprise, his response was positive. Despite writing critically about what happened between us, he wasn’t angry with me. In fact, my memoir actually opened the door to an important conversation that I’d needed to begin with him for a long time.
I have nothing against the desire to write fiction based on life experiences. I love fiction and write fiction too. Novels can capture the realities of life, the world, and humanity in very authentic and moving ways. However, there is a special power and awareness that comes when one reads a work of memoir. The knowledge that the story you’re reading is a recreation of actual events that someone has gone through connects and resonates in a different way.
So, if you’ve got a story to tell, consider writing it as a memoir. There are certainly pros and cons, but if you think your experiences might be enhanced or deepened by presenting them as fact, not fiction, it’s certainly worth considering. It will take a lot of strength, courage, and determination to write about your own life in a way that will resonate with others, but in the end, it really is worth it.
About the Author: Alana Saltz is a freelance writer and editor living in Los Angeles. Her essays have been published in Role Reboot, The Urban Dater, HelloGiggles, and more. She has an MFA in writing from Antioch University Los Angeles and recently completed a memoir about her struggle to overcome anxiety disorder and depression. You can visit her website at alanasaltz.com or follow her on Twitter @alanasaltz.
Please welcome guest author Tamara Girardi with a post that challenges the old adage, “write what you know.”
In mid-October, I attended a literary evening with Jodi Picoult as part of the Pittsburgh Arts & Lectures series.
My immediate impression of Picoult: she was incredibly gracious and pleasant. At a reception prior to the event, she worked the room with a genuine smile, taking pictures and shaking hands. During one conversation, she laughed so loud with an attendee the room took notice. In other words, she was lovely.
So was her talk.
She focused on her extensive research, which has contributed to her brand as a writer. Anyone who has read one of Picoult’s novels expects a blend of literary and commercial qualities with significant research that provides the reader an opportunity to learn something new. Picoult shared stories about her time ghost-hunting to write Second Chance and interviewing Holocaust survivors for The Storyteller. The stories she told about researching for her books were just as compelling as the novels themselves.
However, a piece of advice Picoult received as an undergraduate studying creative writing at Princeton could have prevented the creation and success of her twenty-three novels, nine of which debuted at number one on the New York Times Bestsellers List.
The advice was “write what you know,” and it’s not uncommon. Jokingly, Picoult told the crowd she quickly learned she knew nothing and thought it might be best to revise the adage to “write what you’re willing to learn.” In her biography for the event, Picoult wrote that writing what she wants to learn ensures she’s “energized about what [she’s] doing when [she sits] down to do it.”
Not only can writing what you want to learn be energizing, it can also broaden your potential topics and intensify the uniqueness of your story and characters. Picoult’s latest novel Leaving Time features an elephant researcher. She has written about cloning and gene replacement therapy and dynamics of wolf packs, to name only a few of her unique topics. The winning combination is a story world that fascinates you and your readers.
During a writing workshop several years ago, writing teacher James N. Frey, author of How to Write a Damn Good Novel, encouraged attendees to write protagonists who were on the edge of the bell curve, not characters who were like every other character in the middle of the curve. Because of her efforts to write what she wants to learn and not what she knows, Picoult’s characters and stories hover on the edge Frey mentioned.
But how do writers write about what they want to learn and ideas on the edge of the bell curve? Here are five tips to get you started:
1. Look for ideas everywhere:
Picoult got the idea for Second Chance when she was walking through her kitchen and noticed a headline from the newspaper sitting on the table. The article detailed a complaint from the Abenaki Native American Tribe that a new development would be built on a burial ground. An entire novel grew from that one headline.
If you’re reading a book, scrolling the Internet, watching a television program, or talking to a family member and a small nugget of information fascinates you, it might do the same for your readers. Make note of it.
The literary agent and author of How to Write a Breakout Novel advocates for creating a twist on an old idea. To achieve this, writers must be aware of old ideas, so they can make them new. To place the protagonist of my unpublished young adult novel Broken on the bell curve, I decided she should be a competitive crossbow shooter. The idea came from a newspaper article I wrote about a fourteen-year-old girl who had won several sharpshooter competitions. I chose to model the shooter but change the weapon. Besides, shooting a crossbow was wicked fun. Then Katniss Everdeen happened, and a teenage girl with a bow is not quite on the edge of the curve anymore. In other words, the curve can shift based on literary trends. Keep that in mind, and when you find a great idea, be sure there’s a twist to make it even more unique.
After noting a fascinating nugget of information, explore the topic more. Of course, great places to start are local libraries and the Internet, but don’t be afraid to contact people in your community who are knowledgeable about what you’re researching. Interview them. Visit them. Befriend them. In my experience, people are often eager to share their insight, especially if they know they’re talking to a writer doing research.
As I mentioned above, I adored my experience of shooting a crossbow. I never would have imagined the arrow would project that quickly. It was amazing! To make my character realistic, shooting with the bow was absolutely necessary. If at all possible, immerse yourself in the experience you’re writing about. Picoult knew that to write a ghost hunter, she had to go ghost hunting. So she did. Observation is a powerful tool for writers. Take any opportunity to get as close as possible to the people and the culture you’re fictionalizing. Honor them with as much authenticity as you can.
In academic research, there’s a process called “member checking” that requires researchers to share their interview findings with participants for feedback. Similarly, fiction writers tend to share passages of their work with experts to double-check the authenticity. I have several mystery author friends who share their work with lawyers and police officers, especially if they’re writing police procedurals. In Broken, the young adult novel I mentioned above, grief is a major theme in the book, so a psychologist friend of mine reviewed excerpts and offered enlightening feedback. Who knows? The process of double-checking could yield more ideas from your experts, and those ideas could send you even further toward the edge of that bell curve. I hope to see you there.
About the Author: An English Instructor for Harrisburg Area Community College’s Virtual Learning program, Tamara Girardi holds a PhD in English from Indiana University of Pennsylvania and a Master of Letters in Creative Writing from the University of St. Andrews. Her YA fantasy Dreamseer won the 2013 PennWriters Novel Beginnings Contest and is on submission with agents. Tamara is a member of Backspace, Sisters in Crime, and PennWriters. Follow her on Twitter @TamaraGirardi.
Please welcome Natasa Lekic from NY Book Editors with a post that will help you handle rejection letters. Read well, because this post is packed with excellent advice.
Rejection letters are a cruel, inevitable part of every writer’s life. However, they shouldn’t derail your writing habits, which is why it’s critical to get over rejection notes as quickly as possible. To do this, you need to understand their actual value and how it compares to the act of writing.
The advice below will help you cultivate habits and a state of mind that will make rejections feel like a passing annoyance.
- Recall the rejections of writers you admire. Most writers, throughout history, have known the bitter taste of rejection. To read their stories or listen to their interviews is a way of reminding yourself that you’re not alone. They didn’t let rejection stop them from writing – and neither should you. Take rejection as an event in your life that you share with the likes of Joseph Heller, Stephen King, and JK Rowling, among countless luminaries.
- Reconsider your expectations. Your reaction to the rejection is directly correlated with your expectations. When you emailed the submission or query letter, did you fully expect to see your story in the literary magazine or did you envision meeting your new agent in New York? Consider the volume of submissions and queries that get sent to your recipient(s). Once you realize how challenging it is to get noticed, rejections won’t feel as painful.
- Play the numbers game. Submit, submit, submit. One rejection doesn’t seem like a big deal when you have many possibilities available to you. Never put all your eggs in one basket. Opinions about writing are subjective. You need to reach out to a lot of people in order to find someone who supports your work.
- Tell your negative thoughts to shut up. Negative energy leads to self-doubt and is more likely to cause negative outcomes. Athletes know this and train themselves to focus away from negativity. You should do the same. When you manage to remain optimistic, you’re more likely to stick to your writing schedule, write well, and think of new, interesting ideas.
- Fail wisely. When you receive a rejection that contains a personal response, appreciate the fact that the recipient thought highly enough of your work to take the time to respond. Approach the criticism with an open mind. Consider the fact that they might be right, and try to learn from it. What can you do differently next time?
- Turn submissions/queries into a routine. The way to be successful in the long term is to turn your submission efforts into a routine. Submitting your work or querying agents should be a tick on your weekly, monthly, or bi-monthly to-do list. It’s nothing more or less. The important work is the time you spend writing. Submissions and queries are a necessary administrative task, like doing your taxes. Turn it into a habit so you know you’re checking those boxes, and carry on with your real work.
- Reward Yourself. You deserve recognition for the work you’ve done, whatever the outcome. You did your part by completing the story or the manuscript and sending it out into the world, which was no small feat. Remember to reward yourself for the work you do once in a while, whether it’s with a glass of good red wine or an afternoon’s walk in the park. Your commitment to the craft of writing should be appreciated.
If you follow most of this advice, the negative mental effect of rejection letters will recognizably diminish. You’ll be able to maintain a state of mind that allows you to get back to the desk and continue writing.
Elizabeth Gilbert says she’ll “always be safe from the random hurricanes of outcome” as long as she never forgets to continue writing. The same goes for you. If you can keep going, you’ll be OK.
About the Author: Natasa Lekic is the founder of NY Book Editors, an affiliation of editors with extensive publishing industry experience who provide freelance editing services to authors.