Shoot the Shaggy Dog

Like any industry, writers, editors, and publishers have their own lingo. While it helps save time when you know it, some people just starting out might not know exactly what a publisher means when they’re sending out ARCs or what to do when an editor tells you you should Lampshade something. So, for those just starting out:

1. CMS: Chicago Manual of Style, a style guide also known as the editing bible for most publishers. Where newspapers use AP Style and academic periodicals tend to use APA, publishers 99 percent of the time turn to CMS for all those tricky style questions.

2. ARC: Advance Review Copy, a copy of a book which is close to being released given to book reviewers and beta readers. Also called “galleys” ARCs might have a few typos the final proofreaders need to catch before the launch, but they allow reviewers time to read the book and have a review ready around the official release date.

3. Lampshade: Also known as “Lampshade Hanging“, Lampshading is a writing device where the writer acknowledges that what they have just written might seem improbable enough to threaten a reader’s suspension of disbelief. It serves the purpose of highlighting that the author knows that what just happened seems improbable and often is played for laughs (for example, in Harry Potter and the Half-Blood Prince movie, Professor Mcgonagall asks, “Why is it that when something happens it is always you three?” Ron Weasley’s answer: “Believe me Professor, I’ve been asking myself the same question for six years.”)

4. Meta Data: Information about a book that helps it get to the right readers. Meta data includes the ISBN, keywords, publication date, etc.

5. As you know, Bob…: A form of exposition where a character is speaking of something for purely the reader’s sake. This is often started with “As you know…” with the writer then using dialogue to explain things even though everyone else in the scene knows the information already. Due to its unnatural feeling, it is generally discouraged. It can, however, be lampshaded, for example (sticking to the Harry Potter theme) Voldemort in A Very Potter Musical stating “I know, I hear everything you hear!” when Professor Quirrell outlines exposition at the beginning of a scene.

6. Duology: The lesser known cousin of a trilogy–a series consisting of only 2 books, such as Tamora Pierce’s Trickster’s Choice/Trickster’s Queen or Carol Berg’s The Lighthouse duology.

7. POV: Point of View. Whether it’s first person (I), third person (he/she), or little used second person (you), every book is written with a POV. The POV character is whose thoughts the reader follows. Poorly controlled POV in “third person limited” (where the narrator is a character in the story limited by their own personal knowledge) can lead to headjumping, so it is important to figure out who is relating the scene as a narrator, be it the “I” or a “He” character (if you’ve had me as an editor, you might be familiar with the note “POV slip” in a third-person novel)

8. Epistolary Novel: “Epistolary” meaning “written in a series of letters” an epistolary novel is a novel which is written as though it is other written documents (be it letters, emails, texts, or anything else).

9. Foreword/Author’s Note/Introduction/Prologue: Often all confused for each other, each means something a little different at the beginning of a novel. A Foreword is something written by another person about the novel/author (often written by people more famous than the author themselves or a mentor for academic works), an author’s note is something that is written by the author that is at the beginning of a book, but not part of the story. An introduction is close to an author’s note, but something generally written by the author about the book that is not part of the story in any way. A Prologue is part of the story that sometimes serves as a “chapter one” but takes place “outside” of the main story (either by happening years before the main story starts or with characters who are not part of the main group). Introduction and Prologue are perhaps the most commonly flipped leading to confusion between people in publishing and those not familiar with the terminology.

10. Shaggy Dog Story: A shaggy dog story is “a plot with a high level of build-up and complicating action, only to be resolved with an anti-climax or ironic reversal, usually one that makes the entire story meaningless.” As TV Tropes explains, “The classic example is a man who bankrupts himself trying to return a shaggy dog to a rich family in England for reward money — when he finally makes it there, he’s told that the dog “wasn’t that shaggy” before the door’s slammed in his face. The End.” A shaggy dog story can be one-upped by becoming a “Shoot the Shaggy Dog” where not only has the story been meaningless, but the characters end up going to meaningless deaths for their trouble. Nineteen-Eighty-Four has been dubbed a “Shoot the Shaggy Dog” story where (spoilers) the main character, after spending the novel trying to break out of his dystopia, is beaten back down, scheduled for execution, and entirely content with it.

—————————————————————————-

Want to carry this and other posts with you wherever you go? Download Write, Edit, Publish for free today.

The Lawful Good and Chaotic Evil

If you have been on social media for any length of time, you likely have seen a meme that looks something like this:

alignment

And half of them seem to use Game of Thrones character for whatever reason. (http://postitjournal.blogspot.com/2012/03/viewing-life-through-alignment-grids.html)

Long before these charts became “meme worthy”, players of RPGs like Dungeons and Dragons were familiar with building characters in a similar way, aligning their characters along a “moral and ethical axis”. A full (very handy) breakdown is available on TV Tropes, but it can basically be broken down into:

alignment_graph_3756

tvtropes.org

Now, these breakdowns don’t always work for fiction writers (as TV Tropes very smartly says, “remember that the vast majority of characters in fiction are not tabletop game characters, and therefore lack a canonical interpretation of alignment“) more and more I have found it helpful to think of characters who fit a “vague alignment”, both when it comes to writing and editing. Why? For the same reason the charts came into fashion for role playing games, I imagine. Because it is a handy way to develop just who your character is.

Personally, looking into alignments arose as part of writing my Broken Line Series. With each book following a different main character (and yet interlocking with each of the others) it became very important to develop each character as their own person, otherwise everything slowly began to get a little too wishy-washy with an ever-growing cast of characters. Thinking of a character in terms of a designation (along with plenty of other character building of course) it can be simpler to think just how they would react when thrown into a tough spot.

So, if dealing with a number of characters (or simply needing to flesh out a single character further) consider their alignments:

  • Lawful Good: Simply put, the Lawful Good believes that, well, the law is good. Being a good person (which they strongly wish to be) requires upholding the law. This character believes in truth, justice, and other ideals seen as virtuous, but such strong convictions may also prove their undoing (see poor Ned Stark up there). They are so committed to their ideals, they may struggle to uphold them even to their own (or other’s) detriment.
  • Neutral Good: For the Neutral Good, doing the right thing is very important, but the right thing doesn’t always mean the lawful thing. Following their personal morals, doing good is more important than upholding the law, but they also don’t see law as a bad thing. If they are able to do good by playing by the rules, they will.  If they have to break a few laws to save someone, however, they don’t find themselves in an ethical quandary. As TV Tropes puts it, “Just think ‘basically nice person’ and you’ve probably got it.”
  • Chaotic Good: Home to the rebels and free spirits, the Chaotic Good want to help people and do good, but they tend to believe that things like order and discipline get in the way. For all the Whovians out there, my personal favorite picture I’ve seen for Chaotic Good is The Doctor. The man always wants what is best for everyone, but isn’t about to let silly things like laws (even generally good ones) get in the way of achieving good.
  • Lawful Neutral: The Lawful Neutral is “the rule-abiding sort”. Good and evil are all well and good, but not something that keeps them up at night. Law and Order (not the show) are what drives the Lawful Neutral with “justice” not necessarily coming into play. As TV Tropes says, “They’ll arrest a robber or rapist, but may also kick a family out of their home for failing to pay rent” even if the family missed rent for a “good” reason. TV Tropes and I agree probably the best example here is Inspector Javert from Les Mis (stealing bread to feed your starving family is no better than stealing cigarettes to hock to school kids). Any other character who is the same staunch type of Legalist would be a Lawful Neutral (protagonist, antagonist, or anyone in between).
  • True Neutral: True Neutrals are either characters who want to “keep the balance” and thus not interfere (think the Elves staying out of things in Lord of the Rings) or characters that don’t care about just about anything for one reason or another (be it they’re too stupid to realize they should care, have a “calling” they see as above Earthly problems, or just simply want to be left alone).
  • Chaotic Neutral: The Chaotic Neutral is either “the ultimate free spirit” or someone who is just plainly crazy. Chaotic Neutrals don’t wish to harm, but neither do they want to help others. Freedom is their be-all end-all. As long as you don’t try to rein them in, they really couldn’t care less what happens to anyone else.
  • Lawful Evil: Heading into the villains and antiheroes, the Lawful Evil is the “sort of Evil that often ends up in charge.” Lawful Evil don’t care in the slightest about hurting people, but they care a lot of keeping order (whether because they believe it’s intrinsically important or because order is easier to exploit).
  • Neutral Evil: As TV  Tropes so gracefully puts it, “Sometimes known as the Asshole Alignment.” It doesn’t especially matter who gets hurt to the Neutral Evil, and it doesn’t especially matter to them if they play by the rules or not. If the rules suit their purposes, they’ll follow them. If not, they’ll break them. They are often considered more dangerous than the Lawful Evil or Chaotic Evil simply because you never quite know where they’re going to swing next. (For those who have read The Copper Witch/The Copper Rebellion,  this is where I would honestly place our anti-heroine).
  • Chaotic Evil: Just as interested in being a free spirit as the Chaotic Neutral, the Chaotic Evil is all about doing whatever they want, even if it hurts other (for some, especially if it hurts others). Rather than simply being willing to break rules if they don’t agree/they get in their way (like the other Chaotic alignments) Chaotic Evils often take great pleasure in destroying order/causing chaos. Batman’s The Joker is perhaps one of the best examples of Chaotic Evil.

(Need more information before you can place your characters? Read the full descriptions on TV Tropes or click any of the links above for more examples of the specific alignments).

Making Your Characters Believable

Thank you to Quality Reads UK Book Club for hosting my post. Tips for making your characters more believable:

Making Your Characters Believable with @JessicaDall #WriteTip

When it comes to writing, I have always been a “character-driven” author. If you don’t have a good plot, of course it’s a problem, but I fully admit that it tends to be the characters that make me interested in writing a particular story rather than the plot (sometimes I’m not even entirely sure what the plot is going to be when I start out since I don’t tend to care for outlines).

Leaving the characters in charge of powering the story, however, makes building believable characters all the more important.  So how do you do that?

1.       Work out a backstory

No character exists in a vacuum. Just like you didn’t magically appear one day fully grown (I’m assuming…) your character has likely has some past that affects the person they are today. While you should certainly avoid info dumping (overwhelming your reader with a bunch of backstory that they may or may not need to know all or once) you, as the author, need to know what makes your character tick. Have they had a great sense of humor since they were a child? Did they learn it from a friend? Is it a reaction to having a very serious family? The answer may not matter to anyone else, but it will help you shape the little things about your character which turn them from ‘Character A’ to a real person.

2.       Use Character Questionnaires sparingly

All right, this comes down to if you find them helpful or not, but Character Questionnaires have only been passingly helpful for me in the past. They are great for getting the basics down, like what your character looks like or if they have siblings, but is thinking about what my character’s favorite ice cream flavor is really going to help make them real? If questionnaires work for you, go for it. You just might be better served working outside a form (I personally like writing in paragraphs when it comes to the basics) or using other character-building techniques. Like:

3.       Take your characters out of your story

Dialogue has always been my strength so I might be biased here, but one of the best ways I have found to develop a flat character is to take them out of the actual story, and throw them into a strange situation. How would Character A take it if she was suddenly stuck in an elevator with Character B. How would Character B act if he was out couch shopping with his mother? Without having to worry about where the story is going, the characters are free to talk to one another and generally interact with the world, which can give you some great insight into everything from their speech patterns to past relationships.

4.       Let your character lead

This one doesn’t happen to everyone, but sometimes well-developed characters get a little headstrong. If you find yourself writing and all of a sudden a character decides that they actually don’t really like a character you meant to make their best friend/significant other, let them make the change. It’s a good sign your character is developed enough to react to a situation as their own person—forcing them back to what you originally were planning will often suddenly shatter the little things that make them a “real”, believable person.

——————————————————————-

Want to carry this and other posts with you wherever you go? Download Write, Edit, Publish for free today.

Antagonist vs. Villain

And the big day is finally here. My new novel, The Copper Witch, has hit the shelves (or at least e-shelves, print comes out soon). You should totally go buy a copy. You know you want to.

See how pretty it is?

See how pretty it is?

With reviews trickling in (which I’m happy to say are generally positive) a common theme I have found is readers either loving or hating the main character. And honestly, I can’t say I’m too surprised. Adela Tilden, the protagonist of The Copper Witch, is a very strong personality–and honestly an anti-heroine. She was never meant to be particularly “likable” as much as she was meant to be interesting (whether that is a good or a bad interesting seems to be entirely up to the reader).

Antiheroes have been a trend for a while now. While there are still certainly stories with true “heroes” as their protagonists (Good vs. Evil as a literary staple has been around since Gilgamesh–I have to say I don’t see it going anywhere anytime soon) protagonists who lack the standard “heroic” traits (antiheroes) are no stranger to fiction these days either. They are written for any number of reason, but they do end up changing the traditional names that might be used when describing characters.

Yay, Antiheroes (who seem to be predominately men, looking at TV Tropes)

Yay, Antiheroes (who seem to be predominately men, looking at TV Tropes)

You see, while performing an author interview for another blog, I was asked a relatively simple question, “How important do you believe villains are in stories?”

This lead me to the answer that antagonists (someone your protagonist struggles against) are very important–or at least conflicts are. Without conflicts, there generally isn’t much of a plot. There has to be something that your character wants and something stopping them from getting that want, or what would your plot really be? That doesn’t, however, mean there has to be a “villain”. You see, thinking about who the villain in The Copper Witch (the character who tends to have a negative effect on other characters) would most likely also be our protagonist. That’s a bit what being an antihero seems to be–the name for a protagonist who would likely be the villain were situations different.

And that is why “villain” and “antagonist” can’t really be synonymous. Often time villains double as the antagonists of stories, but they don’t always. Even in stories with more traditional “heroes” (i.e. no antiheroes) there doesn’t always have to be a “villain” there simply has to be something that causes a struggle/obstacle. Not necessarily someone evil (e.g. if your story is about a student who wants to get the lead in a school play, the antagonist could be another student also up for the role…even if the other student is perfectly nice).

So, The Copper Witch doesn’t really have a villain, but it does have things for the protagonist to struggle against. And so, antagonist is truly the word to use for what is important in stories. Not villain.

———————————————————————————

The Copper Witch, now available electronically on:
Amazon         Smashwords         Barnes and Noble         All Romance

Print available soon

Outlining a Series

Thank you to Tony Jones at The Craft of Words for hosting my blog post: Outlining a Series.

Because plotter or pantser, you tend to need some kind of outline when you’re writing a series:

cropped-New-Logo-small

Outlining a series

While The Copper Witch is not my first novel, it is the first series I have ever written. As a pantser (someone who tends to ‘fly by the seat of their pants’ while writing) this has proven to be a special challenge—namely because I have a hard, hard time sticking to outlines. While this isn’t a big deal when it comes to writing one book, sticking to some sort of outline becomes more important when the ending of one book affects the plot of the next one.

So how do you stick to an outline when you aren’t the type of writer who likes them?

1. Outline only the Major Plot Points

One of the major problems I have with outlining comes from the fact that once I have written things down, I lose interest in the story—it’s already written down, more or less, so why should I take the time to write it again? I actually write best when I don’t know the end of the story and want to see what happens. Since that’s not entirely a possibility with a series, I’ve managed to come to a happy medium with knowing the ending, but only vaguely. My main character has to end up in X city with Y person, but how exactly she gets there, doesn’t matter so much.

Only writing down the parts that absolutely have to happen for Book 2 to still be on track allows for some creativity in the actual writing process while not completely writing yourself into a corner when it comes to move on.

2. Work in Paragraphs

Or at least don’t feel like you need to follow any certain outlining structure. When I first started trying to outline, I went straight to the letter and Roman numeral structure I was taught to use in high school outlining papers. The problem? All of a sudden what had been fun (figuring out where a story was going to go) started to feel like school-work. By simply…. Read More

Character Flaws

With the term “Mary Sue” becoming more and more common amongst writers, one question I get asked more and more is how to give characters flaws. After all, one of the major reasons Mary Sues are so annoying are that they’re perfect, and perfect characters are boring at best, unbearable at worst.

The problem with thinking of weaknesses as something you have to throw in to balance out strengths, however, is that it is entirely missing the point. Giving a character weaknesses isn’t about balancing some cosmic Mary Sue scale (Good singer +3 Sue, Clumsy -1) it’s about making your character seem real

And so, if your character seems annoying perfect, throwing in a few “weaknesses” isn’t going to help all that much. A saintly character who is sweet, and smart, and entirely angelic is not going to become any more interesting because sometimes she’s a little absentminded or naive.

When trying to flesh out characters, don’t worry about the strengths and weaknesses lists, worry about building a believable character. While a lack of weaknesses is a warning sign for Mary Sues, the bigger problem is they simply aren’t believable. They’re perfect and special and the world around them changes to accommodate them because they are so perfect and special. Any amount of random weaknesses isn’t going to change that.

So, how do you build a believable character:

1. Separate yourself from your character.

Every author puts a little bit of themselves into their characters. One character might like the music you like. Another might have your sarcasm. That isn’t a problem.  What you don’t want to do is make a character your wish-fulfillment. A character that is you as you wish you could be isn’t going to be realistic. Even a character you just really, really care about might not be. Caring about your characters is fine, just don’t let your love for them cloud your judgment when it comes to building their personalities.

2. Think of personality as more than just a pro/con list.

As stated above, it isn’t possible to balance out a Mary Sue by countering their +3 awesomeness with -2 clumsiness. Instead of coming up with a list of all that is good about your character and then trying to think of an equal number of weaknesses, come up with traits. People are a balance of good and bad traits in real life, but many times what is positive and what is negative come from the same trait. Being outgoing, for example, is generally a good thing. It can become negative, however, if the character doesn’t know when to keep quiet or can’t keep secrets simply because they love to talk to people. Again, being a straight-A student would likely go on the “strength” side of the list, but what comes with that as far as weaknesses go? Perhaps they’re stressed, feeling they need to be perfect. Maybe they’re overly competitive or think school is the only thing that’s important. Consider each trait and what it means for your character’s personality, not just if it goes in the strengths or weaknesses category.

3. Change your character based on your world, don’t change your world for your character.

Everyone has a past. Whether you drop in when your character is 5, 15, or 50, it doesn’t matter. They have things that have happened that have shaped who they are. While the reader doesn’t necessarily need to know everyone’s back story, it’s important for the author to, and to think about how growing up as the character did affected them. Someone who grows up dirt poor in rural New Mexico. is going to be a different person than someone who grew up being groomed for the galactic senate. Don’t change the world you have built to suit your character (the real world doesn’t change to suit us), figure out how your character fits into the world you have built.

——————————————————————-

Want to carry this and other posts with you wherever you go? Download Write, Edit, Publish for free today.

It’s been done

Because I haven’t learned my lesson about having to many things on the fire at once, joining my third novel The Copper Witch coming out next year is my fourth, Between the Lines, with REUTS Publications.

Written for the most part in 2009, I remember rather jealously guarding the idea for this novel, which seemed entirely unique at the time. While the world, I still think, is unique–mostly because it’s one I created, and no one shares my exact thoughts (yet)–having more experience with writing, publishing, and books altogether, I have now learned that ideas are relatively cheap. Some are more unique than others, but the idea is not what makes a story. 

And that leads me to today’s post. The question I saw while browsing in the NaNoWriMo forums:

How do you get over the fact that everything’s been done before?” 

As I said above, ideas are cheap. There are a million different ideas out there floating around at given moment and another couple million people ready to write them. Perhaps there’s a brilliant idea out there that the rest of humanity has someone missed, but as of today, I fully believe that if you haven’t found anything out in the world that shares the slightest similarity to your new idea, you probably haven’t yet looked enough.

And so, how do you get over the fact that everything has already been done?

Know that your writing and your characters are what are going to make or break the idea. 

Yes, it is important to have an interesting idea in that you have to be interested in it enough to write it. If you don’t find your story intriguing enough to write, you are never going to actually sit down and get anywhere with it. The fact is, though, even if two writers were fed the same idea, even if they were told to write the same basic plots, their books would not be identical. The characters would be different in how they thought, acted, how they related to one another. All the little things that make a story interesting would reflect the author writing it, not end up as an exact carbon copy.

So write what you like. Write what interests you. Write something brilliant or stupid or derivative. It is who you are as a writer that will make your story unique. If you hold on to that, the fact that everything has already been done but trust in your writing, you’ll always be in good shape.

Does Length Matter?

As December and the holidays firmly take hold, the authors who did NaNoWriMo tend to either wander off to nurse their wounds and take some well-deserved time off or dive right back into trying to finish their novels (if 50k words wasn’t the end of their story) and/or edit some sense into the words they managed to churn out over the month.

I, personally, am doing my best to finish up the tail end of my NaNoWriMo project and it’s seeming the novel will likely be topping off around 75k words–a little shorter than I was hoping, but respectable all the same.

For you see, though it is called National Novel Writing Month, the 50k word goal of NaNoWriMo often leaves authors in the odd nether-space when it comes to the work they end up with (if authors stop at the 50k word mark). While 50k words is long for a novella, it’s not really considered a novel by many publishers.

Looking at the Wiki article on word count, it is listed there:

Classification Word count
Novel over 40,000 words
Novella 17,500 to 40,000 words
Novelette 7,500 to 17,500 words
Short story under 7,500 words

 

 

So what am I on about? 50k is certainly over 40k words. That makes a 50k word book a novel! When you start looking around at submission guidelines however you start finding things like:

“Preferred word counts are between 75,000 and 120,000.”

or

“We rarely publish anything under 80,000 words.”

And so, with a 50k word novel, many authors find themselves too short by a third to have many traditional print publisher take their works seriously. And that can feel like a bit of a kick in the teeth.

So what should you do? Try to whittle the story down into a novella? Beef it up into a novel? Well, there are a few things to consider.

1. EDIT.

This should be a no-brainer, but it is undoubtedly a bad idea to take any first draft you have written (especially one written in a month), pop together a query letter, and start sending it out to agents/publishers. It’s a bad idea to even think that your first draft will be exactly what you’ll have once you’ve gone through and edited. Perhaps there are useless scenes you’ve thrown in just to keep writing that you’ll chop lowering the word count over all. Perhaps you’ll realize there was an entire subplot you never fleshed out and add several thousand more words to your novel working that out. Don’t assume 50k is the office length your manuscript will be when you start shopping around. (And please, please, please don’t throw your new NaNo out into the world without edits. Publishers and agents will thank you)

2. Look into standards for your genre.

Yes, many publisher don’t really like to look at things that are under 70k words or so, but there are some genres where 50k is exactly in line with what publishers want (for example, mid-grade fiction and Romance novels). Don’t read this blog post and automatically start beefing up your story because you think you need to. You might have written something in a genre that doesn’t want long stories.

3. Consider your publishing goals.

So you’re writing in a genre that does want something longer than 50k (Fantasy, for example, is notorious for wanting longer manuscripts). Consider if those are the presses you want to go after. Want to go after big-name publishers/agents and fight for that big advance and first run? Conforming to industry standards will definitely make it a little easier for you along a undoubtedly hard trail. Planning on self-publishing, or even going after small/e-presses? You might not have to. Many e-presses quite like shorter books (even some big presses are doing e-imprints now) and small presses aren’t under the same pressure to look for things that only fit with what is out there already. If you’re happy with your manuscript as it is, look for places that won’t punt it because of word count.

4. Consider subplot

So you want to beef up a story but it really seems like your story tapped itself out at 50k. Consider if there are any subplots you want to add. When I first started writing short stories (after starting off as a novelist) I was told the main thing to keep in mind is that short stories tend to follow one or two characters from A to B and that is the end. Novels, on the other hand, have a full range of characters, and don’t have to only tell A to B. A to B can be the most important part of the story, but other things can be happening at the same time. Often there is a romantic subplot in stories (characters are going from A to B, but Male Main Character [MMC] and Female Main Character [FMC] are also falling in love) but there is no reason a subplot couldn’t be something entirely different. The characters are going from A to B, but MMC is also dealing with a severe illness. They’re going from A to B, but FMC is also doing her best to get into a good college. Think about the world around your characters and see if there is something that can be added that builds the story up.

5. Add descriptions/dialogue.

If you’re like me and tend to write large amounts of dialogue, go through your novel and look for places where you can add more description. What does the room they’re sitting in look like? What are your characters seeing? Don’t overdo it, but there should be plenty of places to build up your world while also increasing word count.

Alternatively, if you are primarily a narration writer, look at where you can add dialogue. More than once while editing I have come across something along the lines of “He told them about X” in a narration-heavy piece of writing. If the reader already knows about X, there’s no reason to rehash it, but if it’s the first time it has been mentioned, why not expand it into actual dialogue? Not only will you expand word count, you’ll also move from telling your reader about what’s happening to showing them.

6. DON’T add in meaningless filler.

Adding a subplot does not mean adding “filler” There shouldn’t be scenes that don’t have some purpose (slowing down the main story to show two characters grocery shopping just to add words is not a good idea). Likewise, adding description/dialogue does not mean throwing in walls of text/meaningless dialogue just to make a piece longer. Tolkien may have been able to get away with it, but taking three pages to wax poetic about a tree is a good way to have readers stop reading. And there is only so long readers will read seemingly meaningless dialogue before they put the book down. If your story is tight and flows well as it is, don’t sink it just for word count. Quality is still more important than quantity.

———————————————————————

Want to carry this and other posts with you wherever you go? Download Write, Edit, Publish for free today.

Typing, Print, Cursive

With news of the standard curriculum changing to no longer include cursive making the rounds, there have been a number of arguments surrounding the usefulness of teaching children to write in script. While many make the argument that it is an antiquated skill (and they possibly have a point, what with more and more documents being produced electronically) I have a much more personal connection to cursive than it seems many my age.

You see, when writing, I often prefer to write my first drafts out long hand. Sometimes I actually find it necessary (more than once on my most recent work in progress, I’ve only been able to write long hand while I just end up staring at the cursor on a word processor).

A sample of what nine out of ten notebooks in my house are filled with

When writing long hand, I also tend to solely write in cursive (print is reserved to mark what I intend to italicize when typing everything up). While I am able to write in both print and script quite legibly (I believe), I find writing in print much slower than writing in cursive (what with having to lift  your pen between each letter). The printing shown above was very deliberately my “nice” printing. In fact, if I try to print as quickly as I write in script, it ends up something more like this:

Why it also wobbles up and down, I don’t know.

Still legible, perhaps, but certainly not as pretty as cursive tries to sneak its way back in (I seem to be unable to separate the ‘h’ and ‘e’ in ‘the’ when writing in a hurry). As I tend to write whatever comes to me, I am thus not able to print quickly enough to keep up with my mind without the letters beginning to resemble chicken scratch (perhaps what those who knew me in middle school would remember as just my writing…)

But Jessica, you may be asking, if you don’t like printing, why don’t you just type? That’s what kids will likely find most useful in the future anyway. To which I say, fair question, rhetorical person. Typing likely will be a more important skill for children to learn in their lives–especially if their writing ventures tend to consist of school papers and emails.

As a writer, though, I still must make my case for writing longhand (and thus cursive) for a just a few reasons:

1. You think better writing longhand.

Seriously. There have been entire articles about it. While I don’t know if it is the reason (or only reason) I have been able to power through writer’s block with a pen when Microsoft Word fails me, there have been plenty studies that prove students learn better when writing things out by hand than with typing. To quote the article linked above:

“Writing stimulates a bunch of cells at the base of the brain called the reticular activating system (RAS). The RAS acts as a filter for everything your brain needs to process, giving more importance to the stuff that you’re actively focusing on at the moment—something that the physical act of writing brings to the forefront.

“Dr. Virginia Berniger, who studies reading and writing systems and their relationship to learning processes, found that children’s writing ability was consistently better (they wrote more, faster, and more complete sentences) when they used a pen rather than a keyboard…The difference, Berniger notes, may lie in the fact that with writing, you use your hand to form the letters (and connect them), thereby more actively engaging the brain in the process. Typing, on the other hand, involves just selecting letters by pressing identical-looking keys.”

Of course, some people are much more comfortable typing and that allows them to work more easily when not worrying about writing, but the very act of writing longhand engages the brain in ways typing does not, and that is helpful for many.

2. You can write on the go.

As smartphones and tablets become more and more common, pen and paper may begin to lose their advantage here, but for now, pen and paper wins out for easy writing on the go. You can get a small notebook from Office Depot for 99¢ (you aren’t going to get the cheapest tablet for that) and throw it in your purse without giving up much space, worrying about it running out of battery, or having to figure out how to type with any speed on a touch screen. Even lacking a notebook, you can almost always find a scrap of paper somewhere to scribble down ideas. There’s something poetic about starting a best seller on a napkin (like J.K. Rowling!) that just isn’t there trying to type out something on your smartphone before it dies.

3. It streamlines the editing process.

“But you’re just going to have to type it up anyway,” rhetorical question-asker argues. “Agents/publishers aren’t going to take handwritten manuscripts.” Well, yeah, but you also aren’t going to (hopefully) be sending in a rough draft of a work to an agent/publisher in the first place. Once you have finished your first draft, you then have the chance to start first-round edits as you type up what you have already written. Really hate this one scene? Rewrite it. Think that sentence could be better? Tweak it as you’re typing things up. Rearrange. Cut scenes. Add scenes. You can do it all while typing what you’ve written up. It’s all stuff you should be doing anyway.

4. You always have a backup .

Hopefully you already have a backup of your manuscript (or multiple), but in the event that the machines finally rise up and become our masters, it’s always comforting to know that there’s at least a draft of what you’ve done somewhere to work with rather than losing everything (or, perhaps more likely, should your laptop and external hard drive get stolen, it’s far less likely for a burglar to grab a stack of already-used notebooks on their way out). Can you lose a notebook? Of course. Could it be destroyed? Yep. But it isn’t going to be taken out by clicking on the wrong link one day or an airport scanner wiping your computer hard drive (latter one has happened to me in the past. Thank god for external hard drives).

5. You won’t get (as) distracted.

Ok, there’s really no limit in being able to find distractions when you don’t want to write (I really should reorganize this bookshelf…) but by writing on paper, you have one less potential time waster easily accessible. Sure, there are writing programs that allow you to write “full screen” these days, so you don’t see things popping up to distract you while you type, but really, it’s so much easier to hit that little escape button and check Facebook “just for a second” then it is when you’re writing in a notebook.

5. You have something to auction off when you’re rich and famous.

I know, I know, this one’s a bit wishful thinking…but what author really doesn’t want to think about their first drafts being auctioned off for big money once they’ve hit Stephen King levels of fame? Selling a flashdrive with an old draft of your Word Document just doesn’t have the same draw.

And so, there are my reasons for still writing longhand (beyond “it helps me write” and “I like it”). Do I begrudge schools for finding other skills than cursive more important these days? No, I completely understand the argument. Do I plan on teaching my children how to write in script all the same? If at all possible, you can bet on it.

There’s a Word for That?

Recently, Buzzfeed.com ran an article titled,  25 Things You Had No Idea There Were Words For. While you can find the full article here, here are the ones I think writers should not be without:

Denominalisation: using a word that isn’t a verb as a verb

– Auralize: to mentally create  a sound (the sound equivalent of “visualize”)

– Estival: pertaining to summer (the summer version of “autumnal” or “vernal”)

Brumal: pertaining to winter

– Yonic: the opposite of phallic

Susurrus: a whispering or rustling sound

Sesquipedalian: a word that is polysyllabic -or- someone who uses such words, often while attempting to appear smart.

Honorable mention:

Semantic satiation – a psychological phenomenon in which repetition causes a word or phrase to temporarily lose meaning.

Read more at: http://www.buzzfeed.com/awesomer/things-you-had-no-idea-there-were-words-for and feel free to add your own words below.