Category Archives: Inspiration for Writers

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.

Why I LOVE being an IFW editor

by Sandy Tritt

On a whim, I asked our editors why they love being an Inspiration for Writers editor. I didn’t know what to expect, but I did get a lot of answers. Here’s who said what:

Rhonda White: Education–both learning and teaching—is an important part of my life. Editing and ghostwriting provide me with the opportunity to learn (through researching facts, information and materials for new books and novels) and to teach (by editing and analyzing manuscripts for my clients, as well as writing coaching assignments) what I have learned. Watching my clients grow as writers thrills me, and I celebrate every publication by one of my clients as if it were my own. It’s incredibly fulfilling to help a client achieve their dream goal of publication, and since over 98% of our clients become published authors, this career path provides me with many reasons to celebrate! 

Jennifer Jett: I love every single part about being an IFW editor. I love the clients and the manuscripts that come across my desk. Those writers for whom I edit become more than clients—they are friends who keep in touch, and I love, love, love when they email me to tell me about their successes. As a writer myself, I love the craft; as a magazine editor by day, I enjoy the process of polishing a product to make it shine. I love to read, and with IFW, I am able to edit stories that fall into the genres I read for fun. Every manuscript is an opportunity to not only help a writer become stronger in their skills but to teach them about editing and industry standards, and I enjoy helping people. With IFW, I am connected to a network of amazing and successful writers and editors of all genres from around the world, all with different specialties. My access to them and their knowledge makes each project a learning experience for me, as well. Fiction has been in my bones since my childhood, and being a part of this incredible group provides me with the rare opportunity to exercise my creative muscle every day. 

Jessica Nelson: Though I haven’t been with Inspiration for Writers, Inc. long, I already feel like a beloved member of the family. Everyone is exceptionally kind and supportive. My favorite part of working with these lovely ladies (and gentlemen!) is that there is no such thing as a stupid question. Every question is seen as a teaching moment, and they are not only more than willing to help you learn–they are always willing to learn, too. Knowing that I am part of a company in which the people constantly better themselves to better serve their clients makes me unbelievably proud. (Note: Jessica is our new college intern. She is an American Scholar at West Virginia Wesleyan College majoring in Creative Writing. Welcome to the family, Jessica!)


Stacy Tritt: Working for IFW (as an intern) while still in college was a great experience. It gave me the opportunity to use the education I was receiving in a work environment. Writing and editing are hard work. It takes a focused mind, a wealth of knowledge and more patience than I ever thought I could develop. Working in the “real world” now, the fellowship I have at IFW continues to push my education and development in writing and editing forward, long after walking the stage in my cap and gown. Hardly a day goes by without me learning something new about writing, publishing, editing and more because of the wonderful coworkers I have.

Jessica Murphy: I love being an IFW editor because it gives me the chance to contribute to the success and happiness of aspiring writers everywhere. By showing them how to perfect both their stories and their skills, I can help them achieve their goals and raise their confidence and potential to new heights. And as a bonus, editing helps me improve my own skills, teaches me about multiple genres and subjects, and often inspires me to write. I also consider myself lucky to have colleagues who give me these opportunities and offer both professional and personal support. Not many opportunities are as interesting and motivating as this one.


Sandi Rog: I love being an IFW editor because it’s an opportunity to discover amazing writers. I love it when I get the chance to help an author learn the craft, to teach them things that might have taken them years to learn. I love it when I get to help make their manuscripts shine. It doesn’t get better than that.  

Charlotte Firbank-King: I love being an IFW editor because I meet wonderful people from all over the world and in every walk of life. There are the friendly and kind people, funny people and sometimes, people who test one’s ability to keep cool and sane. I learn something from every type. I love to see people absorb all I share and then grow in the craft of writing. I love the excitement and challenge of a raw manuscript arriving, then working with clients to make it shine and vibrate with life. I get a special thrill from seeing my client’s manuscripts published. 
I absolutely love the editors at IFW. We share funny moments, we share our frustrations and joys. We share words, phrases or quotes seldom used and therefore new to us. We help each other with challenging sentences and argue endlessly about where a comma should be. We offer love and compassion when one of us is hurting. We celebrate when one of us has a book of our own published. We are like a cyber-family who supports not only one another, but our clients, who join our family for a period of time.

Sherry Wilson: I love editing for IFW. Editing gives me the freedom to make my own hours and thus, homeschool my four children, while still being involved in people’s stories. Nothing feels better than getting lost in the world a new writer has created, poking and prodding as I try to find holes and ways to make it stronger. I love the excitement of the creative process as I work with a writer to help her create something that lives up to her vision of her story. Every day is different—every project a new opportunity. It is great to work with a wonderful stable of writers of all different backgrounds and interests. This way, projects get assigned to the editor with experience and knowledge of the genre and publishing trends. The stable of editors is small enough to be a personal experience for the writer, but the experience is wide enough to edit almost anything. And the support of the other editors means that the writer gets the best of the service and we editors get to learn and grow as we work. Let’s face it, what better job is there than to read all day? I’m very thankful for IFW and the other editors who have become friends. It’s more than just an editing company, it’s a family.
If you’d like to learn more about our editors, visit http://www.inspirationforwriters.com/staff/editors.html. 
Our editors are the backbone of Inspiration for Writers. To make sure we have the best match between writer and editor, we provide 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 you’d like to submit your manuscript, follow the guidelines at  http://www.inspirationforwriters.com/editing/sample.html. Thank you. We’d love to invite you to become a part of our Inspiration for Writers family. 

What is a Ghostwriter, and Who Needs One?

           
by Rhonda Browning White
            I can’t help but hesitate when people ask what I do for a living. “I’m a ghostwriter,” I finally say. The reactions I receive are never dull. “Oh,” someone might say, “I love ghost stories.” Uh, no. I don’t write ghost stories. That is, unless someone hires me to ghostwrite a ghost story. Once a (rather rude) woman said, “Isn’t that selling yourself, like a prostitute?” Um, double no! Ghostwriters indeed write stories for other people that are (typically) published under that person’s name, instead of their own. But then, so do many journalists and newspaper writers. I recall the first time I had a story accepted by a local newspaper. I rushed out that morning to buy a few extra copies of the edition in which my story would appear. And there was my headline in bold print . . . follow by the editor’s name in the byline. “But that’s my story!” I wailed. “I wrote it!” Such is the life of many news journalists. I whined for a bit, but then I realized it was no different than when I’d worked as a secretary, composing professional-sounding letters for my boss, who would then sign his name at the bottom, as if he were the one who’d agonized over that brilliant marketing hook in the first paragraph. Like journalists and secretaries and a host of other professional writers, ghostwriters write to help other people. And believe it or not, we usually enjoy that privilege!

 
What do we write?

            As a ghostwriter, I’ve been able to write political thrillers, Christian romances, memoirs, self-help books, even a screenplay. A ghostwriter works with her clients one-on-one in whatever capacity is needed to bring even a germ of an idea into a full-fledged manuscript that’s ready to submit to agents and publishers.   

 
Why hire a ghostwriter?

            Until they actually try to do it, most people think it’s easy to write a book. They come up with great ideas. They can see some of the scenes playing out before their eyes. But once they actually try to write, they realize it isn’t as easy as it looks. There’s so many things they hadn’t considered—point of view, voice, character arcs, plot devices—the list goes on and on. Writing is a craft that takes years of study and even more years of practice.

           
How much does it cost?

            Ghostwriting projects vary greatly, and the costs fluctuate with the amount of work involved. In addition to writing, some ghostwriting projects require research, collation of data and facts, and confirmation of sources. A typical ghostwriting project costs in the five-digit range. “What!” you may say. “That’s exorbitant!” But is it? A professional ghostwriter may work from four to twelve months on one project, sometimes working more than forty hours a week during that time. Would you expect to make less than a five-digit salary for half a year of hard work? Probably not. If you’d expect to make it, then you should expect to pay it.

 
Who hires a ghostwriter?

·         Your grandfather. Yes, we’ll write granddad’s memoir for him, taking care to use his voice as we chronicle his life into a book his family will cherish for generations.

·         Your neighbor. Everyone has a story to tell, whether it’s the story of how they single-handedly fought off a bear, how they hitchhiked across America in the 60s, or that idea for a romance they’ve put on the back burner for three decades. They may not have the skill to write the story, but man, that story deserves to be told. That’s where a ghostwriter comes in.

·         Professionals. Doctors, professors, ministers, technology developers, business leaders, and others have information to share, but who has the time to devote to mapping out a textbook, a self-help manual, or a devotional? We do!

·         Published authors. Sometimes an author will sign a three-book series deal, but then get so busy with the book tour (or vacationing on their advance) that they are nearing the deadline to turn in their next book in the series, but don’t have time to finish it. A ghostwriter can help them meet the deadline (and help them keep what’s left of their contract advance).

·         Publishers. Yes, even publishers occasionally send writers to us when the writer has an excellent story, but lacks the professional skill to write it in a manner that is publishable.

·         You! What’s your story? Doesn’t it deserve to be told? Do you dream of seeing your book alongside others in a bookstore, or popping up on your Amazon feed? Give us a call today, and let’s discuss what a ghostwriter can do for you!

Make up Your Own Mind: Letting the Reader Write

 by
Rhonda Browning White

During my MFA days, I kept a journal of important suggestions and bits of advice passed down to me by professors, instructors, visiting writers and my cohorts; epiphanies, ah-ha moments, words to live by, definitely words to write by. I still turn to these one-liners, these brief explanations, these light-bulb statements that point me in the right direction when I feel lost or need inspiration. One such statement came from my mentor, author Robert Olmstead, who said to my workshop peers and me, “It’s not about what you write, it’s what you don’t write. Make the reader do some of the writing. Invoke, invoke, invoke. Make the reader conjoin A and C. Leave out B. Don’t burn words.”

For years, I’d spelled out everything for the reader. I wanted her to understand. I wanted to explain. Suddenly I realized that the best fiction—stories I love and re-read, are the stories that allow me to draw my own conclusions. And sometimes, in the re-reading, my opinion and conclusion changes. These stories become, for me, timeless.

Since then, I’ve sought short stories in which the narrative and its elements are not spoon-fed to us, stories where we are allowed to develop a relationship with the characters and draw reflective meaning from their experiences. Here are two examples I’ve found in The Best American Short Stories 2010, which we can examine and learn from to prevent ourselves from burning words.

In her story “All Boy,” Lori Ostlund writes of Harold, a studious and introverted child who is audience to the breakdown of his parents’ marriage (Ostlund 263-78). His father is gay. We know, without being specifically told, that Harold’s mother fears their son may have homosexual tendencies, so she protects him from being ostracized by teachers and classmates by telling them, “I guess Harold’s just all boy” (Ostlund 275). Ostlund never points out these things directly, but lets the reader reach this conclusion and determine for herself if Harold’s mother is in denial of her husband’s and son’s tendencies, or if she’s merely operating in the protective role of mother. Ostlund never tells us until the last paragraphs that Harold’s father is gay. We are allowed to experience this revelation as Harold experienced it; gradually, by applying our own knowledge and societal frames of reference to what is taking place. We experience for ourselves what Harold is thinking and feeling, so much so that at the end of the story, we want to usher him back into the safety of the womb-like closet, where he is protected from the harsh realities of the world.

We suspect from the opening line of Tea Obreht’s “The Laugh” that the darkest part of the story is over. “They were talking about the funeral when the lights went out” (Obreht 246). Still, suspense builds throughout as we learn that Neal, our narrator, feels guilty over some instance that occurred between him and best friend Roland’s late wife, Femi. He loved her, I inferred, though no steamy affair ever made print. Throughout the story, Neal does everything he can to protect Roland; physically, when he follows him into a pack of wildebeests without a loaded gun; and emotionally, when he places heavy sacks of flour into Femi’s empty casket to keep Roland from discovering that hyenas stole her body. Neal came face-to-face with one of these hyenas, though a pane of glass separated them. But the hyenas’ laugh, not their vile golden eyes, was what tormented him. “It was the laugh that made his stomach turn, and they laughed all the time, every night they were there, as if they knew their laugh made him wonder, made him want to come outside to them in the dark, or, otherwise, put a gun in his mouth” (Obreht 257). Yet, when the story ends, it isn’t the hyenas’ laugh that haunts him, it is Femi’s laugh. Again, the reader is left to her own inference, her own conclusion, based on her knowledge—not of hyenas, but of humans and human nature.

It is what we leave out, then, not what we put into a story, that provides the reader with a satisfying, poignant or devastating twist. Leave out the B parts. Let your reader reveal what has been hidden, let him write what is missing.

Works Cited

Obreht, Tea. “The Laugh.” Russo 246-62.
Ostlund, Lori. “All Boy.” Russo 263-278.
Russo, Richard, ed. Introduction. The Best American Short Stories 2010. New York:
          Houghton, 2010. Print.

Reprinted with permission of the author and Why The Writing Works http://whythewritingworks.com/2013/12/03/make-up-your-own-mind-letting-the-reader-write/

How to Keep Writing

By
Rhonda Browning White

The most ardent, self-disciplined taskmasters occasionally have weak moments when we find it hard to write, but it’s important to work through those feeble hours. How do we do it? How do we make writing a priority and encourage ourselves to put words on the page? These easy steps will keep you going through the driest days of writing drought (and doubt).

  • Give yourself permission to write. To whom does this dream, this life-goal, this road to success belong? It belongs to you! So why do you need anyone else’s permission to pursue it? Simply put, you don’t. You only need your permission. What are you waiting for? Go write!

  •  Beat your doubt into submission. Face it; you’re not going to wake up each morning eager to jump headlong into writing. In fact, most days you won’t even want to get out of bed without hitting the snooze button at least once. Don’t wait for the Muse to sit on your shoulder. She’s a fickle little witch, anyway. You don’t need her. Write without her, just to spite her!

  •  Write down your dreams. Start big! New York Times Bestseller list? Fine. Now break it down. Might need to write a book first, right? That’ll mean finding an agent, as well. How will she know you’re any good? Ahhh, yes, she’ll see your list of bylines. Don’t have any? Time to write some short stories, articles or poems. Have you already written some good ones? Then send them out! Breaking your dreams into manageable pieces is the first thing to do. Then take one step toward completing those steps each week (or each day). And keep writing.

  •  Accept that you’ll never see the bottom of the laundry basket. There will always be clothes to wash, pots to scour, floors to mop and bathtubs to scrub. And they’ll be there after you’ve finished writing today. (Trust me; the housecleaning fairy doesn’t exist—I’ve set many traps for her, to no avail). If dinner isn’t started on time, order pizza, and keep writing. Ask your family to pitch in and help with chores. If they ignore your pleas, they’ll figure out that someone needs to go to the grocery store when the cupboards are bare. In the meantime, keep writing.

  •  Learn to accept rejection. Realize that a rejection of your manuscript isn’t a rejection of you, as a person. It doesn’t mean you’re a terrible writer. It may simply mean that your work was too long, too short, too funny, too sad, or didn’t fit the space or theme of a particular magazine’s forthcoming edition. Or it could be that the agent or editor simply doesn’t like the genre or style in which you write. The next agent might think it’s the best thing she’s ever read! Rejection happens. Get over it, and keep writing.

  • Submit your work. The best thing I know of to inspire more writing is publication. Of course you must take a moment to dance your way back from the mailbox, and you may have to crack open a bottle of champagne, or go out to dinner tonight to celebrate your success. But as soon as you return home, start writing. It’s important to feed the excitement of inspiration with words and more words. And more words. Your words. Build off your own momentum. Keep writing!

Bring Your Character to Life

We’re approaching the end of the Spring season, and you know what that means: new life all around us! This life is inspirational! And with a little help, might just inspire us to give life to our own creations: our characters.

Giving life to a character is one of the most rewarding parts of being a writer. It’s also one of the most difficult. Too many times in fiction we witness the “cardboard” or one-dimensional character. It takes more than the snap of a finger to create real characters, those we can visualize and root for and love. Instead, they develop over time, over many hours spent together.

As a writer, you need to think of the development of characters as being a process, a life cycle, instead of a moment of genius creation. One of Inspiration for Writers most requested workshop is “The Life Cycle of a Character,” which breaks getting to know a character into several phases.

CONCEPTION is the initial spark, the idea that originally causes us to want to create this character. Sometimes the plot generates a spark—we know a story we want to tell and we need a character to tell it by. Sometimes we see a setting—a country porch with a dilapidated swing—that makes us wonder what kind of person lives there. Sometimes we run across a photograph that sparks our imagination and we create personality to go with the physical features. Or sometimes we see a possession like an antique spinning wheel and wonder the type of person who would own such a thing. Whatever the cause, writers conceive a character from an idea.

During the conception phase, we need to start assigning characteristics (knowing that once our character takes on a life of his own, he may change any of our assumptions about him). But, to get started, we still go through the paces. You may find it helpful to use a Character Trait Chart to assign physical description and background information.

BIRTH is when we pick up the limp character that we assigned physical attributes and psychological traits to, hold him in our arms, and breathe the breath of life into him from our very own souls. It’s also the turning point — his actual birth—and we cease having absolute control over him.

The first breath of life is when our character has a goal or “character statement.” What, more than anything else in the world, does this character want? Consider the following character statements:

To become wealthy so the love of my life will return my love.
To have fun.
To keep my family together.
To break into the Rock ‘n Roll charts and become a rock star.
As you can see, a character’s goal can be as deep or as vapid as the individual. Note that for some characters, this statement may be a life goal, but for others, it may change as the character matures. Regardless, this is what motivates our character, and we must understand this motivation if we are to continue to add depth to his personality.

Part of a character’s birth is the “layering” of personality traits. I have found that a good book of the Zodiac that includes both star signs and moon signs is a “cheap” way to add dimension to a character. Also, I search psychology books for complementary traits. Using resources can help with your writing. For example, you may find that alcoholics often possess irrational fears and suspicions or that a criminal skyjacker often has a religious mother who confided in him, that bed wetters are often aggressive and have difficulty adapting to new situations. These are the types of traits that add dimension to our characters.

ADOLESCENCE is when our character begins interacting with his environment. How does the setting of the story affect him? What is going to happen to him and how will he react to what happens to him? What conflict or fatal flaw will prevent him from achieving his goal? How will he overcome this conflict or flaw? How will he grow?

MATURITY is the final fleshing-out of a character. We now add body language (be sure to study a good body language text to understand how posture, facial expressions and mannerisms affect the way we are received by others) and dialogue to our character. We need to give him a distinctive voice, not just externally, but the way he will think in internal dialogue. Perhaps most importantly, we need to understand his emotional makeup. To fully understand our character, we need to mentally try him out in several emotional scenes so that we can know how he will react.

DEATH. Great characters never die. Never.

So—giving life to a character is much like being a parent. We do the best we can for our characters, give them years of our lives, our love and understanding, but the day comes when they rebel and say, “Enough. Let me be me,” and we must allow them to live their own lives. And that is when we as writers have truly given life.

For additional tips, worksheets, and discussions, order your own copy of the Inspiration for Writers Tips and Techniques Workbook, which can be found on our website: InspirationForWriters.com

Writing Tip Card – Writing Wrongs

What do editors do when they get bored? (Okay, that’s a trick question. Editors don’t have time to get bored). However, in their spare time, the editors at Inspiration for Writers, Inc., made a list of the top “writing wrongs” they encounter. As the list grew, so did the suggestions for what to do with such a list. The result? A 3.75″ x 8.25″ glossy card you can keep by your computer to remind you to right your writing wrongs before sending out your manuscript.

The best news? We’ll send a free card to the first ten people who email Sandy at IFWeditors@gmail.com. Be sure to send your full mailing address and state what you want (a free Writing Wrongs card). If you belong to a writing group and would like enough for your group, email Sandy with the number of people in your group.

Now, in case you can’t wait for your full-color card, here’s what they say:

WRITING WRONGS
Think your manuscript is ready to send out into the world? Before you do, polish your prose by eliminating or reducing:
~ Spelling and grammar errors. Proof once more.
~ Telling. Take the time to act out scenes with appropriate action, dialogue, and description.
~ Was, were, is, are. Each time you locate one of these “to-be” verbs, find a way to omit it. They are often a clue of passive sentence construction. Bad: There were three boys in the room. Better: Three boys wrestled in the gym. Note that fixing passive construction forces us to use more powerful verbs and urges us to be more specific.
~ Present participles (the fancy name for “ing” verbs). Replace with past tense wherever possible. Bad: It was raining. Better: Rain pelted the windows.
~ Helping verbs. Bad: She began to sing. Better: She sang. Bad: She could hear a train. A little better: She heard a train. Much better: A train whistled in the distance.
~ Adverbs. “Ly” words are a sign that a stronger verb is needed. Bad: She was exceedingly tired. Better: She was exhausted. Better: Exhaustion weighed her shoulders, ached her limbs.
~ Creative dialogue tags. Bad: “I love it,” she jittered. Better: “I love it,” she said.
~ Dialogue tags. Replace with an action or body language. Better: “I love it!” She hopped on one foot and danced around John.
~ Dialogue explanations. Don’t tell your reader what your dialogue shows. Bad: John told her off. “Don’t you ever do that again!” Better: John’s eye twitched. “Don’t ever do that again!”
~ Intensifiers. Very, really, totally, completely.
~ Any nonessential word. If a sentence reads just as well without a word, leave it out. Common criminals: that, of, prepositions at the end of a sentence, and suddenly used to create urgency (when action should be creating that urgency).
~ Clichés. If you’ve heard it before, so has your reader. Find a fresh way to say it.
~ Stacked adjectives. If you must use an adjective, pick the strongest one. Bad: The large, gray, angry fox attacked the rabbit. Better: The large fox attacked the rabbit.
~ Exclamation marks. Use only when shouting.
~ Ellipses ( . . . ). Use only when text is missing or, occasionally, as a device to show a falling off in tone during dialogue.
~ Redundancy. Say it once; say it right. Readers are smart. Really.
~ Viewpoint breaches. Know whose head you’re in and stay in it. Or stay out of all heads.
~ Smiling, nodding, laughing, sighing. Nothing wrong with these, but overuse will remove the sizzle from your finely-crafted words. If you use any of these more than once per scene, try to find more creative actions or fresher body language.
~ Gawking characters. Get your character out of the way of the action. Bad: John saw the sun rise. Better: The sun tiptoed into the horizon. Bad: Jill watched the squirrel shell nuts. Better: The squirrel shelled nuts.
~ Named emotions. If an emotion is named, it means you’re telling, not showing. Bad: She was angry. Better: She slammed her fist on the keyboard.

***
Be sure to request your card while supplies last. And remember, when you need a second set of eyes to review your writing, we’re here.

(c) copyright 2011, Inspiration for Writers, Inc. All rights reserved.

Animal Contest Winner, and New Contest Announcement

Congratulations to Lori from Mason, Ohio, the winner of the Amazing Animal Contest for her piece, “Teaching Without Words.” Lori won a free edit from IFW, as well as some other great prizes and bragging rights. Be sure to submit your entry to this month’s contest. Details are below.


The Dialogue Recovery Contest

Why don’t you show us what you can do with some interesting dialogue? For your hard work you could win a copy of Joy Held’s Writer Wellness as well as some other great gifts from Inspiration for Writers, Inc., (not to mention the critical acclaim of being able to say you WON one of our prestigious contests)! Enter our FREE writing contest. This month’s theme is Dialogue Recovery. Here’s how it works: write a short story of up to 1,000 words, the only catch is that your story must start with one of the following bits of dialogue:

“Look out! It’s coming right for us!”

“And that, my dear, is why your husband willed me all of his money.” OR

“Check out those buns.”

Be creative! The more fun you have, the better! Submit your story to IFWeditors@gmail.com with an e-mail title of “Dialogue Writing Contest” by 11:59PM on May 6th to be considered for the contest. Also in the text of the email, please give us your name, email address, and snail mail address (yes, we keep these confidential), AND, please let us know if we have permission to print your entry, your first name, and your city/state or nation in a future blog or newsletter column. I will send a “we received your entry” email to all entrants, so if you don’t get one, email again or call Sandy at 304-428-1218 during regular business hours (M-F 9-5 Eastern time).

Our editors will judge the entries on content, creativity, writing style, and writing craft. The winner will receive a prize package that includes a copy of Joy Held’s Writer Wellness, an Inspiration for Writers duffle bag, a GHOSTWRITERS tote bag, Inspiration for Writers notepads, and other miscellaneous goodies. Now, get writing!

A Slice of Writer’s Life

BLAH, BLAH, BLOG!
Writers write. Writers should write something everyday. Yes, seven days a week and something besides checks made out to the electric company. But where do the time, the energy, and the ideas come from? Believe it or not, it’s a self-perpetuating cycle. The more you write, the more you have to write.
In my book Writer Wellness, A Writer’s Path to Health and Creativity, I describe writing to be a muscle. And like the other muscles in our bodies, the writing muscle needs to be exercised and kept in tip-top shape. The writing muscle is kept well toned only by writing. The more we write, the better shape our writing muscle is and the more we have to write. See? Self-perpetuation cycle. What counts for writing exercise?

I keep my own writing muscle in shape by journaling almost everyday of the week, writing several blog posts a week, and writing book reviews for several online sites. And yes, I still have plenty of time, energy, and ideas for my historical romance novel in progress. The key is discipline and not going overboard with what you have to say in any one area. It also helps with learning key fiction elements such as pacing, passive voice, and RUE (Resisting the Urge to Explain.) My writing muscle is warmed-up by the blogs, reviews, and journal entries I write. It’s in those playing fields I am able to watch myself change and progress as a writer. This blog post today is a good example. Let me explain.
Writing blogs, journal entries, and book reviews for several years have taught me to get to the point with what I’m writing in my fiction. The reader wants to know what’s important first, not after a six or seven adverbial phrase describing every bat of the character’s eyes before they utter a word. What the character is doing is integral, but when two people are in the same room and on the same page, they need to be talking to keep the pace of the pages turning for the reader. I have also learned not to repeat what the character says with something we at IFW like to call “narrator intrusion.” Which is what I just did. I just told you something, then intruded on your thought processes by telling you what I just told you. In this fast paced world of ebooks readers want to know and get on with it. Don’t stall them. They will put your book down for good.

BLOGS
What do you say in a blog? My good writing friend Kristen Lamb, author of We Are Not Alone, The Writer’s Guide to Social Media is currently doing a fab series on what, why, and how to blog.
You will not regret subscribing to Kristen’s blog. Take my word for it. Because blogging is not only about getting the word out about you as a writer, it’s most importantly about creating community. Another change in the publishing world. Blog. It’s eventually good for your writing in sooooo many ways.
BOOK REVIEWS
I started writing book reviews because I wanted to read the books my young daughters were reading so we could have a conversation about them and so I could keep connected to their lives. They’ve grown up to be voracious readers and I still review books for kids, teens, and adults. Here’s the latest review for POSER, MY LIFE IN TWENTY-THREE POSES, Claire Dederer:

Writing book reviews keeps my writing muscle toned because it forces me to read and analyze as a reader, writer, and editor. That’s everything I am after mom, cook, laundress, etc. ugh… Anyway, book reviews aren’t exactly easy to write and the format calls for a strictly limited number of words. Again, the practice keeps my fiction writing lean and well paced. Because of reading books and writing reviews, I can almost instantly spot a mistake in my own work because my writing muscle is in tune.
By the way. Look at the top of the book review site and click on the button Review for Us and get started!
JOURNALING
Journaling is something I’ve talked about at length in the archives of this blog and my own site for Writer Wellness.

Visit and subscribe by clicking on the “subscribe” button at the top and get email alerts when I’ve posted a new blog! See? Community!

Meanwhile, remember to look for a digital or print copy of Writer Wellness, A Writer’s Path to Health and Creativity at Who Dares Wins Publishing, http://whodareswinspublishing.com/.

And check out these great blogs for ideas to keep your writing and publishing healthy and prosperous.

http://writeitforward.wordpress.com/ Bob Mayer

http://jenniholbrooktalty.wordpress.com/ Jenni Holbrook

http://warriorwriters.wordpress.com/ Kristen Lamb

http://inspiration4writers.blogspot.com/ Inspiration for Writers, Inc.

Be well, write well.

Joy

Copyright 2011 Joy Held. All rights reserved.

FREE Writing Contest for March 2011

Have a story about an animal? Want to win a FREE 1,500 word edit as well as some other goodies from Inspiration for Writers, Inc., including a tote bag and some writing supplies? Enter our FREE writing contest. This month’s theme is amazing animals. Submit your story up to 1,000 words to IFWeditors@gmail.com with an e-mail title of “Animal Writing Contest Entry” by March 31. Also in the email text, please give us your name, email address, and snail mail address (yes, we keep these confidential), AND, please let us know if we have permission to print your entry, your first name, and your city/state or nation in a future blog or newsletter column. We will send a “we received your entry” email to all entrants, so if you don’t get one, email again or call Sandy at 304-428-1218 during regular business hours (M-F 9-5 Eastern time).

Our editors will judge the entries on content, creativity, writing style, and writing craft. The winner will receive a prize package that includes a FREE 1,500 word edit from one of our renowned editors (a $45 value!), an Inspiration for Writers duffle bag, a GHOSTWRITERS tote bag, and other miscellaneous goodies. Now, get writing!