Teaser Tuesday: The Inferno of Unrequited Love- A Poem by Tex

The more I write, the more often I get writer's block. When I first took up the pen, I had a pent up well of words that broke over the dam and flowed freely with little effort. 

I'm not saying all the words were good! It was more that when I sat at the keyboard, I had no problem thinking of something to say.

Now, working on my sixth novel, the words do not spill out in a riot onto the page. Most days I feel more like I'm coaxing them forth. Perhaps I'm more choosy about what words I lay down on the page. Or maybe I mined the surface and must dig deeper.

Whatever the reason, the question is how to break through the wall of writer's block.

One method I've used is to write poetry in a character's voice/perspective. It helps me get inside the head of the character and often reveals a truth I was not aware of about the character or perhaps the needs/desires/wants of the character.

Today I share a poem that "Tex" wrote. It captures where he is at in book three of the H.A.L.F. series: H.A.L.F.: Origins (forthcoming June 2017).

Consumed

I could end you.

It would take only a thought,
     no more effort than to breathe.

You know this.

You should be run away from me
     in terror.

I am a monster.

But is it possible that you see
     the human within me?

Starvation. Cold. Mutilation. Torture.

None scared me half as much
     as the thought of losing you.

Is it my fate to wander,
    a shell of a man
        hollowed by my longing
            for your touch?

My heart beats in time to
    an unrequited rhythm.

You touch my cheek, 
     your face upturned,
          your lips moist and ready.

If I kiss you now,
     will the fire subside?

Or will it kindle an inferno
     that will consume me?

Your lips
     soft.
My hand
     at the small of your back.
You arch into me as
    our lips
        meet.

The inferno rages,
     engulfs me.
It burns until I am ashes,
     burnished to reveal
         the diamond heart within.


If you're a writer, do you ever get writer's block? Have you ever used poetry to break the blockage? What other methods do you use to end your writer's block?

NaNoWriMo November: After NaNoWriMo by Stefanie Spangler Buswell

NaNoWriMo

Now that we're in the third week of NaNoWriMo and moving into the home stretch, it's a good time for a post about what to do after NaNo. And I have the perfect guest writer today to share tips on what to do with your NaNo baby after November. Stefanie Spangler Buswell is not only an author, but an editor at RedAdept editing (which also happens to be the editing house I use and highly recommend :-). 

And be sure to enter the Rafflecopter Giveaway at the end of the post for your chance to win a bundle of books from 5+ authors!

After NaNoWriMo

By Stefanie Spangler Buswell

There’s something about NaNoWriMo that inspires authors. Knowing all those other writers are toiling away at their own WIPs really pushes others. Many of my clients love to participate in NaNoWriMo. No more procrastination, and no more excuses. It’s time to get the ideas down and out of your head. But once the glorious euphoria of NaNoWriMo fades, that free flow of ideas generally leaves an author with a messy first draft. But that’s okay. There are several steps you can take to get your writing ready for editing and publication.

Outline

During NanoWriMo, you might have done a little more pantsing than usual, so a reverse outline is a great way to ensure that your story comes together in a cohesive final draft. Start by summarizing the basic plot: characters, goals, and obstacles. Then, from memory, write out the major plot points. Next, sit down with your outline and your manuscript, ready to take notes. Most stories change as they come out on the page, so be aware of leftover plot points that didn’t pan out in the end. Your reverse outline should help you find plot holes and decide what needs reworked, cut, or expounded upon.

Research

Take time to research points of your story that you couldn’t stop to check while meeting your NanoWriMo word count. If you’re writing a detective novel, check into police procedure. If you’re writing a fantasy, you might need to ask an expert how to properly wield a sword. Google the names of famous people and places to check for spelling. Don’t be afraid to rework parts of the story based on your research.

Fine-tune Descriptions

Pore over your story, looking for repetitive descriptions of characters and locations. Double-check for conflicting descriptions leftover after you made changes to characters, plot, or locations. And remember, great descriptions should flow with the story, not read like a grocery list of characteristics.

Look for Repetition

As you’re rereading, you’ll probably notice repetition of certain words or sentence structures. Shake things up a bit with fresh sentence structure and spend time with a good thesaurus. I really like Thesaurus.com because it brings up synonyms for words that are similar to the one I searched for. So I don’t have to get it exactly right to get close.

Round Up Beta Readers

Beta readers are a fantastic resource. These readers aren’t editing your work, but they are going to read your story and give you honest feedback about the strengths and weaknesses of it. Find people who are serious readers, ones you trust to give honest criticism.

Get Psyched for Editing

You might decide to put your story through content editing, line editing, and/or proofreading, since it’s always important to have a professional put eyes on your work before your put it out into the world. You want your book to represent the level of writing your readers expect of you. But remember, the best editors are busy, so don’t wait until the last minute to schedule the work.

After the rigorous pace of NanoWriMo, it’s entirely possible that you’ll spend more time on revisions than you spent on writing. Hang in there, and remember that your efforts will all be worth it when you have that polished final draft.

Stefanie Spangler Buswell

Stefanie Spangler Buswell has a bachelor of arts from Western Illinois University, and she tried out a few other careers before settling down to read books for a living. Books and reading have always been her passion. So she's excited to be a part of creating great books.

Stefanie lives in Central Illinois with her husband and daughter. She is currently the executive publisher assistant and a line editor at Red Adept Publishing. When she's not editing, she enjoys gardening, knitting, and forcing others to read her favorite books.

Amazon Author Page: http://www.amazon.com/Stefanie-Spangler-Buswell/e/B00MU3M5SU/ref=sr_ntt_srch_lnk_2?qid=1444057633&sr=8-2

Red Adept Editing: http://www.redadeptediting.com/editors-proofreaders/

Red Adept Editing on Facebook: https://www.facebook.com/RedAdeptEditing?fref=ts

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NaNoWriMo November: Get Inspired with NaNo Veteran Chanda Stafford

NaNoWriMo

It's that time of year again. No, I'm not talking about rampant consumerism, over-indulgence in all things chocolate and fat-filled, and houses that look like the Vegas strip. 

I'm talking about that crazy writer thing that happens every November: National Novel Writing Month (NaNoWriMo). The month when lots of folks say "This time I'm going to do it!" and commit to writing 50,000 words in 30 days.

I did my first NaNoWriMo in 2011. I'd just published my first book, Emily's House, and was geared up to write book two. It took me three years to write the first one and I was determined to go much faster with the second. I "won" NaNo that year writing Emily's Trial and indeed wrote closer to 60,000 words that month. The novel wasn't finished, but I had a great start on it.

I wrote a large chunk of my third novel, Emily's Heart, the next year during NaNo and "won" again (though the 50,000 words was sort of a down payment on a 108,000 word novel ;-).

I'm not participating in NaNo this year but support those of you who are. And to help me cheer you on, I have lots of fabulous guest authors lined up this month to share their NaNo experiences or to provide writer encouragement all month long.

Even if you're not a NaNo participant, the posts will entertain and inspire you. And many of the guest writers are donating books to the November Mega-Giveaway (see the link at the end).

Without further ado, my guest today is Chanda Stafford:

A Crazy Little Thing Called NaNoWriMo

By Chanda Stafford

A little over a decade ago, I was a sophomore in college when I heard about this month-long writing adventure called National Novel Writing Month (NaNoWriMo). I didn’t know anyone else participating, and my family and friends thought I was crazy, but I decided to try it anyway. Those thirty days passed in a flurry of typing, all-nighters, and many, many trips to the local coffee shop.  It was terrifying, awe-inspiring, overwhelming, and agonizing at times, but it was worth it.

Even though I crossed the 50k line, my first attempt at NaNo was terrible. It was so bad in fact, that I still glance at the old .doc file now and then and shudder. I knew what I wanted to say, but the words weren’t there yet. The second was better, but barely. The third was almost readable, and the fourth could actually be called a story. Not a very good one, mind you, but it had an actual plot with a beginning, middle, and end. The characters were awful though, and I ended up killing my protagonist because I was sick of listening to her whine.

As the years progressed, my writing got better and better, until one November I typed “The End,” and thought, “This is it. This one doesn’t stink as much as the rest. This one people might actually want to read.” Eight-five rewrites and three years later, First was published by Red Adept Publishing.

It took seven years of NaNo-insanity to write my first publishable book. Some might accomplish that sooner, some later, and some might not be interested in getting published at all, and that’s okay. I needed every one of those other novels to help me become the writer I am today. Yes, they all had problems, plot holes, and characters so cardboard you could use them for kindling, but they were learning experiences, and I got something important out of each one of them.

You see, NaNoWriMo is a great teacher. During this month long craziness, you learn to plumb the depths of your imagination, your perseverance, and your will to survive in order to generate something truly awesome: confidence. Yeah, you read that right. I think NaNo is only half about actually writing a novel, and the other half is about building the confidence in yourself that you can do this great and incredible thing. You can persevere. All you have to is keep writing, because every time you type “The End” you get better, and that is what helps you become the writer you were meant to be.

About First

Seventeen-year-old Mira works on a farm in the ruins of Texas, along with other descendants of the defeated rebels. Though she’s given her heart to Tanner, their lives are not their own.

When Socrates, a powerful First, chooses Mira as his Second, she is thrust into the bewildering world of the rich and influential. Will, a servant assigned to assist her, whispers of rebellion, love, and a darker fate than she’s ever imagined.

With time running out, Mira must decide between the boy she left behind, the boy who wants her to live, or the man who wants her dead.

Chanda Stafford

Chanda Stafford is a writer and a teacher. When she's not corralling her rambunctious students, she's thinking up fiendish ways to torture her characters. She has two published books, including one of her NaNo novels, First, and is eagerly anticipating the release of her third novel, Burning Bright, which is coming out early 2016.

You can find Chanda here:

Twitter: @chanda_stafford

Website: chandastafford.com

Facebook: https://www.facebook.com/chandawekwertstafford/

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Writer Wednesday: How Losing Your Virginity is Like Writing Your First Novel

"The Birthday"
by Marc Chagall, 1915

If you follow this blog, you know my fourth book, H.A.L.F.: The Deep Beneath was released in January (see more about that here). As I prepare to write my fifth novel, I am plagued with what has now become the familiar feeling of fear about the blank page. The worry of "can I do this" doesn't seem to go away no matter how many times I conquer the mountain of crafting a novel.

And lately there's an added feeling. At first it was a vague worry, but soon grew to outright fear.

Is the spark gone?

Is there such a thing as a well of creative energy that we draw from but which can run dry?

And that got me thinking about sex. I'll get back to the sex part in a minute, but first a bit more about writing.

While writing my first novel (Emily's House), I felt immersed in magic. Granted, Emily's House is about a girl with magical abilities and she goes to a mysterious other dimension and time travels and what not. It wasn't just the subject matter that was magical though.

The process itself was like falling into a rabbit hole. Frightful at first, yes. But oh how amazing as the mysteries were revealed. It felt like magic. I vividly recall sitting at my desk, writing feverishly, my fingers unable to keep up with my mind. It was as though I had been transported to a divine place called "Creativity", fueled by a meandering stream of the imagination.

While writing H.A.L.F.: The Deep Beneath (my fourth book), the dark hand of fear took hold of me. The writing was less feverish and more measured. Where was the feeling of divine "Creativity"? What happened to the meandering stream?

The process of writing was still pleasurable. In ways perhaps more so. I didn't stress so much about where to put things or if I was doing it right. I had experience to guide me.

Yet I had this nagging concern that because I did not feel the strange, mysterious upwelling of creative energy, the story was not going to be as good. Would the writing be flat?

But as I rewrote, revised, got feedback, rewrote again, revised, etc., I saw that I had, in fact, written my best novel yet. And my loyal readers agree with me. Their praise of my craft shows that my writing has gotten better, not worse.

And now what I promised. Talk of sex.

Writing a novel is like having sex.

You never forget your first time. The first time was likely awkward and fumbling. But memorable.

To a virgin, sex - like writing - is a mystery. You wonder about it, consider it. Think about it (a lot) and long for it. You imagine what it will be like (over and over again), picturing in your mind an amazing upwelling of passion that culminates in the most beautiful moment in your life.

Oh, the build up. The excruciating anticipation.

And then it happened and it was …

Nice. Or maybe just okay. For some, downright terrible.

But memorable. You always remember your first time. It was the time that the mysteries were revealed. 

The thing about first times? They only happen once.

But if sex was never as good - as pleasurable - as the first time, some may never do it again. Instead, sex gets better with experience, not worse. And better and better. So we keep doing it because it doesn't stop feeling good. The pleasure does not end after the initial mysteries are revealed. 

We discover more mysteries. It's no longer a meandering stream but a never-ending well of discovery.

The first time may be the most memorable, but practice makes perfect. For both writing and sex.

Did this article make you think about sex or writing? :-) Please feel free to share your thoughts but remember, this is a PG blog so please keep the comments clean.

Writer Wednesday: Others Smell Your Stink More Than You Do

You know the saying. "The one who smelt it dealt it." In my experience that is rarely true of a person's malodorous behind. And when applied to the world of writing, I boldly assert that it's never accurate.

When it comes to our writing, we can rarely appreciate the full extent to which our prose reeks. While it is certainly true that we need to be our own first editors (and the better you become at editing, the more exceptional your writing will be), we cannot rely on our own eyes and minds to be the sole arbiters of the strengths and weaknesses of our work.

So let us be clear and establish Law #1: Every manuscript we produce MUST be read and commented upon by someone other than the writer.

Having accepted this law, we then must seek out a person or persons to critique our work. I recall clearly that at my first writer's conference back in 2009, I heard ad nauseam of the need to be in a critique group. The sounds like sound advice given Law #1 and many newbie writers run around with their hair on fire seeking out the perfect critique group.

The truth is that finding a critique group can be difficult. Many are closed to accepting new members. Still others are not a good fit. Many writers have never been in a critique group, and their writing has not suffered for it (possibly due to the constraints of a critique group/partner that I'll point out below). 

If you are in a critique group and it works for you, great. But I urge writers also to consider getting an "outside" opinion. Pushing yourself to receive feedback from a completely unbiased and skilled freelance editor may help you kick your writing up a notch.

Time for another bold assertion. Your critique group partner(s) and beta reader(s) are only slightly more able to parse out the true extent of the rotten parts of your manuscript than you are.

Why? Because they are not disinterested. Anyone that is in a relationship with you will be unable to provide an unbiased opinion.

You're not going to accept my bold assertion without argument, are you? Good. You shouldn't. I submit two pieces of anecdotal evidence for you to consider.

First, people in a relationship with one another consistently hold back the whole truth in order to preserve the relationship. This is human nature. When you ask your partner, "Do these jeans make your butt look fat?" how many would say yes even if said jeans make your ass looks like a hippo's butt stuffed into denim? The answer is very few. Any partner that said your ass looks like a hippo's butt would be considered an asshole and thus be putting the relationship in danger (whether he/she knows that or not).

We lie to the ones we love and care about to preserve their feelings, especially when we value the relationship. I submit that this is an aspect of human nature that we cannot escape, even in a critique group.

Second, people abhor conflict. Especially women people. I know this because I worked as a divorce lawyer and mediator for nearly twenty years. Time and time again, I saw people (especially women people) in relationships that did not work for them; agreeing to terms that were not in their best interest; and otherwise doing and saying things that went against their own truth simply to avoid conflict. And we doubly especially want to avoid conflict with people who we are in a relationship with. Thus, it is highly likely that your critique partner will hold back on pointing out just how smelly your MS is in order to safeguard your feelings so that, 1) You won't hate them and thus continue to be their critique partner; 2)To avoid conflict with you; so 3)The preserve the quid pro quo relationship that you've established to trade critiques of each other's work.

Now if you're okay with getting feedback that points out perhaps 50% of the smelliness factor in your MS but holds back a bit in order to guard against bruising your ego or perhaps ending the quid pro quo, then disregard this post entirely.

BUT, if you have the sense that maybe at least some of what I'm saying is true, then I suggest you do the following with your current manuscript:

HIRE A FREELANCE CONTENT EDITOR.

Paid editors are not in a relationship with you. They are not your friends, family, co-workers, critique buddies or avid readers of your work. They are interested only in the words on the page (and being paid) not your vivacious personality or quid pro quo.

I have had critique buddies, beta readers and paid editors. Without question, even the worst paid content editor delved deeper into my MS and pointed out more funk than the best critique partner or beta reader. And good content editors have helped me elevate my writing to new levels with their laser sharp focus that doesn't let me get away with anything.

Another thing I should mention that is a factor here deals with paying people for work. If you rely on free advice (even if it's quid pro quo), the fact is that people are busy with things other than your manuscript. Your MS is of the highest priority to you but no one else. 

When you hire a paid editor, your MS becomes her priority for a time because it's her job. You got moved up the priority list for her, and you're top. That means that the paid editor has more energy, time and focus to devote to your MS.

As I said, I've hired quite a few freelancers over the years. Some have been very expensive and frankly not worth the money. Others have been very expensive and worth the money but, well, very expensive and thus not affordable to use over and over again for each new work.

But one company stands out and I'm going to give them an unsolicited plug here: Red Adept. I've used Red Adept three times now and each time I've been placed with a different content editor. All three have exceeded my expectations and I've always felt that the service was worth more than what I paid. How often does that happen in life?

I recently hired Red Adept for a content edit of my current manuscript, H.A.L.F. The content edit took about two weeks, and I received back nearly 2000 comments on my manuscript plus a 21 page, single-spaced letter with feedback. The editor pointed out things that I've done well and my strengths to build on. But she did not hold back in pointing out issues with plot, sub-plot, pacing and characters (as well as other issues).

I'll be honest. When I get the content editor's notes back, I often feel despair. After all, when I sent the MS I felt happy with it and thought it was nearly good to go. But when I get it back and see a comment in nearly every sentence? Well, it induces a desire for chocolate and wine (not necessarily in that order and hopefully both together).

But I let it sit for a day or two. When I go back to it, I realize that nearly everything the editor pointed out is something that I had already considered, but perhaps wasn't sure if it really needed changing. Or I was stuck in my old way of thinking about it and thus unable to see how to change it. The content editor's suggestions spark my creativity, and I'm off and running, my excitement for the story invigorated as I rework the problem areas.

To be clear, a content editor will NOT rewrite your manuscript for you. She will not take your pile of poo and rework it into a masterpiece. But she WILL point out the obvious and not-so-obvious flaws in your work and often make suggestions for how you can rid your manuscript of its stink and make it smell lovely.

Another Note: Do NOT hire a content editor to critique your first draft. That is a waste of your money and their time. DO work on the MS until you feel that you've gone as far as you can go. DO run it through Grammarly so that it's as free of typos, misspellings and grammar issues as you can make it so that your content editor can focus on the big picture. If you do this, you'll get more out of your content edit.

Finally, if you're not yet ready for a content editor but would like the assistance of a second pair of eyes, you may also consider a paid beta read. I provide affordable beta read services to writers (see my page about it here). This is NOT A CONTENT EDIT but it will be an unbiased read and critique of your MS.

Do you hire freelance content editor(s) for your work? If so and you can recommend them,  leave the name and website address in the comments for others to consider.

Next Wednesday: What to do with your content edit/paid beta read when you get it back.

Writer Wednesday: 3 Masters Speak About Show, Don't Tell

In search of inspiration for today's Writer Wednesday post, I opened my "Little Black Book of Writers' Wisdom" and don't you know it opened to a page of quotes that artfully and succinctly address the matter at the heart of excellent writing.

Show, don't tell.

I first heard the phrase at my first writer's conference back in the summer of 2009. I admit that I hadn't a clue what the phrase meant. And though I heard it repeatedly over the years, it seemed that people had a difficult time explaining what it meant.

Now that I've completed three novels and penned a fourth in draft, I've come to understand the phrase "show, don't tell." That's not to say that I never slip into telling. It's just less frequent now and on revision I *most of the time* catch it.

Showing not telling is such a vital requirement to writing a story well that I've chosen three quotes today to get the conversation going. First, from Anton Chekhov, a lovely example that explains the phrase perfectly:

"Don't tell me the moon is shining; show me the glint of light on broken glass." - Anton Chekhov

Have you ever heard a more perfect example of show? The "glint of light on broken glass." So many of us writers would have a tendency to say, "The moon was shining." Flat, passive and a tell, not a show. A more adept writer may say, "The moon shone on the glass." Better, but still fairly simple and uninteresting.

With attention to craft, a master such as Chekhov comes up with "the glint" on "broken glass." In just a few words, he shows us so much. The choice of words matter. Showing matters. And it's the difference between a novice and a master of craft. Do this in every sentence for an entire novel and you'll writer a novel that readers are excited to read.

But wait, here's another one to hit the point home.

"Don't say the old lady screamed. Bring her on and let her scream." - Mark Twain

Sometimes we talk about "on camera" and "off camera." Novice writers often "tell" us what happened "off camera" rather than bringing it "on camera" and showing the reader the action. I'm guilty of that. And it's a writing style that can quickly bore the shit out of the reader rather than engage the reader.

Anyone call "tell" stories (even your Uncle Fred who rambles on and on at family get-togethers). Anyone cal tell, but it takes practice, failure, re-writing, writing, and more practice to learn how to "show" a story (and if everyone could do it, then even your Uncle Fred would be a best-selling author). If the action is worth mentioning, considering putting it "on camera" rather than telling the reader what happened off camera.

The last quote today (remember I promised your three) is from E.L. Doctorow:

"Good writing it supposed to evoke sensation in the reader - not the fact that it is raining, but the feeling of being rained upon." - E.L. Doctorow

Take a moment to let that sink in.

". . . the feeling of being rained upon."

What does it feel like to rained upon? And when he speaks of feeling, does he refer solely to the physical sensation of rain upon the body? Or is there an internal emotion that arises upon being rained upon? Take a moment to consider how you can show both a physical feeling and an emotional response of a character in reaction to an event.

Have you even read a poem or a part of a novel that made you feel as if you lived what the character(s) experienced? If you have, chances are that the writer did a great job of showing rather than telling. The writer made you feel the rain. Wasn't it wonderful?

Have you found it difficult to see in your own writing when you tell rather than show? Do you think there are times when it's okay to tell rather than show? Do you have a quote or example of show, don't tell?

Writer Wednesday: Steering by the Stars

The Little Black Book of Writers' Wisdom
Edited by Steven D. Price

I got a lovely gift from my sister for my birthday last year. It's a small black book titled "The Little Black Book of Writers' Wisdom," edited by Steven D. Price, 2013.

For a few months it sat on my bedside table collecting dust. But one day, perhaps seeking inspiration to crank up the gears of my rusty writing, I opened the volume and began to read.

I love books like this. It's made up of short quotes, all of them meaty and packed with resonance. I found myself reading a quote and then thinking on it for a time - about whether I found it true for me and how the idea may have played out in my writing life.

Then I got the brain burst to share them with you and ask you to comment on them as well. Thus was born the idea for a new segment for Writer Wednesday on my blog.

There are so many pearls of wisdom in this book that we can mine it for months. I pondered where to begin? I decided to let the fates choose. I opened the book, closed my eyes, and pointed my finger.

Here then is the quote that fate chose for us this week:

"There is no satisfactory explanation of style, no infallible guide to good writing, no assurance that a person who thinks clearly will be able to write clearly, no key that unlocks the door, no inflexible rules by which the young writer may steer his course. He will often find himself steering by stars that are disturbingly in motion." - E.B. WHITE

I love that last bit - "disturbingly in motion."

The more I write, the more I feel that this quote is true. When I first began writing, I approached it much the way I approached learning the law back in law school. I tracked down books about it, read blog posts and articles, and sought out writers with more experience than me to teach me the "rules" of the game.

To be sure, there are "rules" when it comes to writing. Pick up an unedited manuscript filled with spelling, grammar and punctuation errors and you quickly see why rules matter.

But grammarians rarely (if ever) make for good writers. And a child can win the national spelling bee but have nary a glimmer of creative genius.

Then there are the "you should never do this" rules and the "always do that" rules that, for me anyway, seem to beg me to break them. I see "rules" on writer blogs and hear them in workshops all the time. There are so many "rules" for how to write a first paragraph that if I began to worry over them I suspect I'd never writer another paragraph again.

The more I write, the more I find the stars in motion. The more I put pen to page, the less sure I am of the course I'm taking. In fact, I'm not sure I'm steering by stars at all. At times it feels more like I'm on a tiny raft in the middle of the ocean on a moonless night, the stars invisible behind a thick blanket of clouds.

Oh, and it's storming.

What about you? Do you relate to this quote? Do you ever feel lost at sea in your writing? Or do you disagree with E.B. White? Do you think there are infallible rules that when followed, you produce writing worth reading?