Those Pesky $25 Words

Inflation has a way of affecting everything eventually. Prices have gone up on many things you buy today. The same can be said for those writers who continue to challenge their readers by using words their readers don’t know instead of simple, everyday words to express themselves.

As little as 10 years ago, those big words were only worth $20, but the price has gone up. With the the advent of social media networks like Facebook and Twitter, more and more people are turning to plainer words to express themselves. Part of this is the use of their thumbs to peck out the words of their posts on their smartphones.

It doesn’t matter how extensive a vocabulary you have. What matters is that you clearly express what you’re trying to say to your readers. Unfortunately, that’s what wasn’t encouraged in school, and especially not in college. Academics pride themselves in sounding learned. But to be a good writer, it’s not necessary to show readers how intelligent or learned you are. It’s more important to take complex concepts and write about them clearly so all your readers will understand.

By using complex words, readers miss the nuances and only get a basic understanding of the subject matter.

A good example is a travel book entitled Mirrors of the Unseen by Jason Elliot that tells about his journeys through Iran. The majority of readers haven’t been to Iran, so they probably only know about it through the T.V. news. He writes beautifully about the culture, with its mosques and bazaars. Unfortunately, all this beauty comes at a price. It seems Elliot, like so many writers, assumes all readers have his extensive vocabulary.

In contrast is a book entitled Antarctica by Gabrielle Walker that’s filled with descriptions of complicated scientific experiments and research written against the background of the stark beauty of the world’s southernmost frozen continent. This writer, on the other hand, uses plain language and makes it seem as if her readers were traveling around with her. She presents an in-depth view of Antarctica that draws her readers in and keeps them turning the pages.

Go back and look at books you’ve read. You’ll notice that the ones you enjoyed the most probably had the most conversational language. Re-read portions of the books you liked the most and see if you can discover the essence of the author’s writing style.

Back in the early days of personal computers, there was a simple software program called PC Style. This little program would analyze a piece of writing for its use of personal pronouns, word length, dynamic verbs, concrete nouns, sentence length, etc. By running several paragraphs of a book through it, you could immediately analyze the writing style. Then by doing the same to a piece of your own writing, you could immediately see where it was lacking.  Unfortunately, that program hasn’t been available for a long time. And while some of today’s word processing programs try to do the same, they just don’t compare to it.

You can use the Find and Replace feature in your word processing program to search for personal pronouns—I, you, we, they, he, and she—for example. These are the words that make writing conversational. These are the words that make readers feel as if they’re part of the story.

You can also do a manual search for complex words—but don’t do this immediately after finishing a piece. Wait a day or two so your writing will appear fresh to your mind. When you find words that you are either long or complex, put them in bold type so you can easily find them and then use the thesaurus in your word processing program to find plainer words that mean the same thing. Do the same for long sentences. Try to keep your sentences shorter and avoid using semi-colons which tend to string them out.

Once you see the difference all this makes to your writing, you’ll never want to go back to using those pesky $25 words.  Instead, you’ll get used to using $1, $5, and $10 words to enlighten your readers about your subject. This blog is a good example.

To read more of my articles and book excerpts, please visit my Web site. And to read more articles on freelance writing, grammar, and marketing, go to Writer's Corner.

                               


       

What is a Story?

Writers tell stories. And it’s not just those who write fiction. No matter whether you’re writing an article, a short story, or book, you are, in fact, telling a story. But you’d be surprised just how many writers, both novice and professional, really don’t know what a story is.

The classic rule is that a story should have a beginning, middle, and an end. Everything you write pretty much follows that format. But do these three things make whatever you’re writing a story?

Centuries ago, Aristotle noted in his book Poetics that while a story does have a beginning, a middle and an end, the beginning isn’t simply the first event in a series of three, but rather the emotionally engaging originating event. The middle is the natural and causally related consequence, and the end is the inevitable conclusive event. In other words, stories have an origination, an escalation of conflict, and a resolution.

Your story needs a vulnerable character, a setting that’s interwoven with the narrative, meaningful choices that determine the outcome of the story, and, most importantly, reader empathy. Basically, a story is a transformation—either the transformation of a character or sometimes of a situation. But above all, you must have some sort of conflict.

At its heart, a story is about a person or persons dealing with tension. Without obstacles and without a crisis event that initiates the action, you have no story. The secret to writing a story that draws readers in and keeps them there isn’t to make more things happen to a character but to create more tension as your story unfolds.

The beginning of a story must grab your readers’ attention, orient them to the setting, mood and tone of the story, and introduce them to your main character, whom they will grow to care about. If readers don’t care about your main character, they won’t care about your story.

So how do you introduce your main character to your readers? Begin by having your character perform some sort of action as your first scene opens. Remember, your story is part of a larger whole—a life that has been ongoing way before the story that your telling has even begun. So you must jump into the storyline as it passes you by. You want your readers to grab your main character and hold on tight. Your readers will be propelled through the story until they get to the point where they will let go—the point at which the story ends. But even though the story ends, life goes on.

The crisis that tips your character’s world upside down must be one that your protagonist cannot immediately solve. It’s an unavoidable, irrevocable challenge that sets the movement of the story into motion.

You can introduce this crisis into your story in one of two ways. Either you can begin your story by letting your character have what he or she desires most and then ripping it away, or by denying what he or she desires most, then taunting them with it. So, your character will either lose something vital and spend the rest of the story trying to regain it or see something desirable and spend the rest of the story trying to obtain it.

Two types of characters inhabit every story—a rigid one and a flexible one. The rigid one remains stubbornly unchanged while the flexible one will change as the story progresses. Your main character should always be the flexible one. The crisis in the story will forever your main character who will take whatever steps to try and solve the struggle.

Unfortunately, your protagonist will fail because he or she will always be a different person at the end of the story. If this doesn’t happen, your readers won’t be satisfied. By the time of your story’s climax, your main character will have made a discovery that changes his or her life forever.

Your character will make this discovery by being clever enough to piece together clues or will show extraordinary perseverance or tenacity to overcome the crisis.

Christmas for a Writer

Just because it's Christmas, I don't stop writing. In fact, for the last 20 years I've composed a special Christmas article that I enclose in a card with the same theme. Unlike the letters many people write, telling of their families trials and tribulations during the past year, my article is about some little-known fact about celebrating Christmas. It's not only a way of practicing my craft, but also a way of giving something tangible to my friends and family.

This year, the number of Christmas cards I have received has dwindled down to two.  Perhaps it’s the cost of postage that prevented many from sending holiday greetings. Or perhaps it’s that most people are just too busy. Whatever the reason, the days of sending Christmas greetings seem to be on the wane. But that hasn’t prevented me from writing my usual Christmas story. The only difference is that I’ve sent it out electronically by Email.

Another big difference in my holiday story is its format. In the beginning, I struggled with the technology to produce a rather crude one-page story with no illustrations. Today, my stories are three pages long with colorful illustrations—a true gift for my family and friends. And who cares if most of them don’t acknowledge my greeting. At least I’ve taken the time to create it.

To read this year's edition, go to my Web site  to read  my Christmas story for 2016, then click on the link "More Christmas Articles" at the bottom of that page and enjoy.

So while I may write about more mundane subjects throughout the year, it’s often Christmas that brings out the best in me. And while it may be too late to compose your own Christmas story for this year, there’s always 2017.

Here’s wishing you all a happy and joyful Christmas and a New Year filled with success.

Writing S.M.A.R.T.E.R. Goals

Success takes planning. And planning means that to achieve success in your writing you need to set down some goals. And right now—the end of the year—is the best time to do that.

For an easy and efficient way to write down your goals, use the S.M.A.R.T.E.R. acronym. Each letter directs you to one of the seven elements of writing goals in a way that makes sure that you cover all of them and get to your end result. So what does each letter stand for?

“S” Stands for “Specific”
Note your intention and describe precisely what you want to do. The more detailed you are, the better. By writing down specific details, you’ll find it much easier to plan the progress of your writing career. If you can’t visualize what you’ve written, then it’s not specific enough for a goal.

“M” Stands for “Measurable”
Decide how you’ll know you’ve completed a goal. Tracking your progress motivates you to take appropriate actions so that you continue to progress. The more successful your progress, the more motivated you’ll be to do the next step, and so on. Creating  clear milestones will allow you to benefit from recognizing and celebrating your work.

“A” Stands for “Attainable”
Stretch the comfort zone of your abilities, but be careful not to overdo it. Goals you set beyond your true abilities slow down your progress. You end up going on a guilt trip for not achieving them even though they were unrealistic for your abilities or the current level of your career.

Before you set down any goal, be sure to assess your capacity to achieve it. Make sure you possess the skills and the resources required to take the next step. If not, what do you have to do, learn, or add to make this happen?

Setting goals that are too difficult will definitely discourage you to move on. Setting them too low tells you that you aren’t capable. So set the bar high enough for a feeling of achievement when you do succeed.

“R” Stands for “Realistic”
Make sure you have the determination, habits and willpower to do what it takes to reach your goal from where you are at the moment. What will you realistically do regularly so that you move from where you are now to closer to where you want to be? Do you have the drive to write, the discipline to do it in a business-like manner, and the consistent work habit required to succeed as a writer? If not, what do have to do to change your attitude or expectations?

“T” Stands for “Timed”
When setting down goals, timing is all important. Give yourself a deadline so you can schedule actions and milestones. Putting an end point to your goal gives you a clear point on the horizon to which you can work. Set a time frame to take these actions and review your results as you go. If you don’t set a timeline, your commitment will be too vague. The goal doesn’t happen because you feel you can start at any time. Without a time limit, there’s no urgency to start taking action now. There’s no driving need to take specific actions at specific times.

When will you take these actions, and at what intervals will you review your results? If you’ve done the task before, you’ll have an idea if your time estimate is accurate. If you don’t sufficient experience with a task or action, you should triple your time estimate. Do you need to complete the actions in a particular sequence? Do any of the actions depend on the actions of other people? Will their schedules fit yours? How can you build in some extra time to make sure your timing isn’t too tight?

“E” Stands for “Energy”
Decide to concentrate your energy to work on your goals. Use your energy in a way that feeds your motivation to keep going towards the end results you desire. You may want to get an article or short story published, but doing everything but getting down to writing either of them and it will be too late, especially if the article or story is timely.

“R” Stands for “Rewards for Results”
Give yourself a reward for persevering and achieving your results and acknowledge what it took to get them. To keep yourself motivated, jot down what you’ll do when you achieve your goal. Something as simple as calling a friend to share your satisfaction or taking yourself out for an extra special treat are examples.

Having a series of milestones creates a situation where progress seems to “pull you forward.” One success builds on another. This not only gives you a solid feeling but the  confidence to set even higher goals. Your confidence builds your competence as you build your success. And remember, at the end of the quarter or the year, review your accomplishments. You may just surprise yourself.

Believability is the Key to Good Fiction

If it’s not believable, it doesn’t belong in a short story or a novel. This concept doesn’t apply in creative non-fiction, because no matter how bizarre, facts are facts. About the only exceptions occur in science fiction and fantasy, whose readers will swallow just about anything for the story. After all, fantasy doesn’t exist except in the reader’s imagination and science fiction doesn’t yet exist.

But in regular fiction, a story’s world can be shattered when an action, even if it’s impossible, becomes unbelievable. It stops readers dead in their tracks. And it can destroy the trust they put in the writer of the story.

There’s an acceptance on the part of fantasy and science fiction readers that just doesn’t exist in other types of fiction. Readers begin reading a short story or novel expecting life in the story to be similar to real life. And while quirky things can happen in the real world, those same incidences become magnified in fiction because the rest of the world isn’t there to balance them.

All writers, fiction or non-fiction, focus on certain actions to tell a story. They ignore all other things going on at the same time because they’re just not relevant. That focus is what leads the reader through the story.

Readers approach stories wanting to believe them. They have both the intention and desire to enter a story in which everything that happens, within the narrative world that governs that story, is believable. As a writer, your goal isn’t to convince readers to suspend their disbeliefs, but rather to give them what they want by continually sustaining their belief in the story.

In the fantasy novel, Weave World, by Clive Barker, an Oriental carpet comes alive as its threads unravel to produce a world of living beings living within it. Unbelievable, yes, but plausible in this fantasy about a world of witches and warlocks and mysterious happenings.

The distinction isn’t just a matter of semantics when it comes to believability. It’s a matter of understanding the mindset and expectations of your readers. Readers want to immerse themselves in deep belief. As a writer, you need to respect them enough to keep that belief alive throughout the story.

Consistency must coexist along with believability. Once you establish an implausible concept or action, you must follow through to the end of the story. Then it, too, becomes believable. That’s exactly what Clive Barker did in Weave World.

All else being equal, as soon as readers stop believing your story, they’ll stop caring about it. It’s important to know what any character would naturally do in an implausible situation. The main character in Weave World accidentally falls onto the rug and for a fleeting moment sees life. That’s how the story begins. In the end, he jumps into the woven world of the rug and experiences chaos as it begins to unravel.

Remember, as soon as your characters act in ways that aren’t believable, either in reference to their characterizations or to the story’s progression, the reader loses faith in your ability to tell the story.

So when something that’s unbelievable or odd happens, don’t be afraid to let your character notice and respond.

If a character acts in an unbelievable way, you’ll need to give your reader a reason why. Always give your readers something believable—or something better. If you don’t, you must satisfy them with a twist or a moment of story escalation that satisfies them more than they ever expected.

The Power of Cause and Effect

Cause and effect is the most powerful tool you can use as both a writer of creative non-fiction or fiction. While in the former fact dictates what happens next because it actually happened, in the latter it’s up to you, the writer, to figure out what happens next.

One of the best places to see the bad side of cause and effect is on T.V. Here, writers face a number of challenges—time restrictions, actor availability, and budget. One of the classic snafues of cause and effect was in the primetime drama “Dallas.” Patrick Duffy gets killed off when a problem arises with his contract and then miraculously comes back to life after it’s settled by saying he dreamed it all. T.V. writers are notorious for killing off characters who have contract disputes.

You can see one of the worst uses of cause and effect in the sci-fi drama “Stargate Universe.” Unlike it’s parent series, “Stargate SG-1,” which told its story in a smooth flowing way, this series jumps around so much that it becomes hard to follow as the episodes unfold. Add to that the lack of plausibility of some of the events, and you end up with a mishmash of comings and goings that even a diehard novel reader would find hard to endure.

Everything in a story must be caused by the action or event that precedes it. That’s a fact. If you start playing with flashbacks and flash forwards, you better make damn sure that what you write is clear to the reader. And while that seems like an obvious statement, you’d be surprised how paying closer attention to cause and effect can improve your writing.

Whether you pursue creative non-fiction or fiction, your main goal should be to ensure that your reader is always emotionally present in the story—that is, you want them to empathize with your main character throughout. But when you force readers to guess why something happened or didn’t happen, even for just a split second, it causes them to intellectually disengage and distances them from the story. Rather than remaining present alongside the characters, they’ll begin to analyze or question the progression of the plot. In the process, they lose their place in the progression of things. This is exactly what happens in all episodes of Stargate Universe. .

When a reader tells you that he or she couldn’t put a book down, usually it’s because everything in the story followed logically. Stories that move forward naturally, cause to effect, keep the reader engrossed and flipping pages. If you fail to do this, it can confuse readers, kill the pace and show your weaknesses as a writer.

Let’s say you’re writing a short story in which the bad guy is chasing your lead character.

    Fumbling with the latch, he managed to lock the door because he knew the killer  would soon be on the other side.

Writing is that way, you’d break the reader’s emotional engagement with the story.

Instead, you should reverse the sentence so it reads like this:

    He knew the killer would soon be on the other side of the door, so he fumbled with the latch and finally locked it.

If you find that one sentence is serving to explain what happened in the sentence that preceded it, you can usually improve the writing by reversing the order so that you render rather than explain the action.

If you’ve written a scene in which you could connect the events with the word “because,” then you can typically improve the scene by structuring it so that you could instead connect the events with the word “so.” The stimulus leads naturally to the response.

In more complex scenes, realizations and discoveries usually happen after actions, not before them. Always build on what has been said or done, rather than laying the foundation after you’ve built the idea. Continually move the story forward, rather than forcing yourself to flip backward to give the reason something occurred.

One way of making sure things don’t go awry in complex scenes is to list each event in the order that it’s supposed to happen. By creating this visual guide, you’re more likely to stay on track. This is especially useful in flashbacks and flash forwards.

Your writing will be more effective if you show the reader what’s happening as it happens rather than explain to the reader what just happened.

However, there are three exceptions to this rule—three times when you can move from effect to cause without shattering the spell of your story.

The first occurs in scene or chapter breaks. Here, you can begin with a vague reference in dialogue that you can follow up as the scene unfolds. The reader will immediately be curious as to what’s happening and will want to continue reading to find out what happens.

The second exception occurs when one action causes two or more simultaneous reactions. Your character might sigh and look out the window, the order of which could go either way.

The final exception happens when your character deduces something the reader hasn’t yet concluded. Imagine Sherlock Holmes staring at the back of an envelope, cleaning out a drainpipe, and brushing off a nearby stick of wood, after which he announces that he’s solved the case. The reader asks, “How did he do that?” This peaks the reader’s  curiosity, and later when the character explains his deductive reasoning, the reader sees that everything followed logically from the preceding events.

If the writers took the time to make any of the above happen in the episodes of "Stargate Universe," the story wouldn’t have been so confusing. This is especially important when writing science fiction, which, in itself, can be confusing enough, particularly when the writer creates whole new worlds.

Bringing Real Characters to Life

You’d think that if you’re writing about real people in a nonfiction piece that it would be easier than making up characters in a fictional short story or novel. Actually, quite the opposite is true. While you have facts about the person to deal with, there are limitations.

Many of the same techniques for writing characters in fiction apply to nonfiction.  Through detail, through gesture, through talk, through close understanding of someone’s life before and after the scope of your story, you make your people vivid in your reader’s mind.

Characters are primary in creative nonfiction, an all-encompassing term covering the personal essays and literary journalism. The chief difference between creative nonfiction and regular nonfiction is that the writer composes the former in scenes with characters just like in fiction. But characters in nonfiction present special problems. While fiction writers base their characters on real people, nonfiction writers usually tell their readers about their characters. The trick is to use the fictional technique of showing, not telling.

When writing nonfiction, much of the work of characterization is done for you. You base your characters on facts, characterization is complete, the family history is in place, the physical description is a given. But that doesn’t make anything easier. The job is merely different. Doing justice to a real person can be difficult because you may have pre-existing biases to that person or their ideas.

Nonfiction readers get to know characters through their actions. But from who’s point of view? It’s all in the moment, all told from a particular point of view. We see the scene—a dark, stormy night off the coast of North Carolina—in the book Shipwrecks and Lost Treasures: Outer Banks, by Bob Brooke. The reader is in the wheelhouse with the captain, Commander George Ryan, and the officer on duty, Lieutenant W.S. French, at 1:00 A.M. as they try to steer the Huron, a converted gunship, through the swirling waters.

        “Hard over,” French shouted to the helmsman. “Leadsman take soundings.” But his orders came too late. The ship swung around toward the beach, heeling over on her port side.
        “What’s out location?, Mr. French?” asked Ryan.
        “I don’t know sir,” French replied.
        “Give the orders for all hands on deck.”
        “Aye, sir.”
        As the mist parted, Commander Ryan finally saw the coastline. “My, God, How did we get here?” he cried.

With just a few words of dialog and some short description, the writer was able to not only establish a time and place, but the military order covering the panic in the voices of the crewmen. From here, the point of view changes as the scene changes to a father and daughter on the shore, desperately trying to find a way to save the sailors.

Once you establish the scene, readers are in a particular time and don’t leave it. What changes is the point of view. Action keeps the scene moving forward.

Often nonfiction writers relate their characters personality characteristics through an as-told-to narrative. This often happens in memoirs where writers use family stories to make their characters come to life. In these, the writer stands back and lets readers draw their own conclusions and make their own judgements.

A character rarely appears fully formed. Readers get to know him or her in bits and pieces scene by scene. You’ll need to will your characters to life by drawing on your unconscious, memory, and imagination until your characters assume a clear form and, with hope, begin to act of their own accord.

This process is inherent to the success of any novel, but it’s also important in nonfiction writing. The key is first to understand what your characters require from you in order to come to life, and then to determine how you can draw on your best available resources to give them what they need.

But what happens if you don’t have all the information you need to flesh out a character in nonfiction? Unlike in fiction, you can’t just make things up. However, you can use your imagination in finding information from other sources.

For instance, let’s say you want your characters to speak but you don’t have access to the exact words of what they said. You can research the same sort of character in similar situations who most likely said something similar. This is exactly what happened in the above example. From captains’ logs of similar shipwreck scenarios, it was possible for the writer to create an exciting, nail-biting scene. He had to do this because Commander Ryan died when his lifeboat overturned and the all was lost, including his log, when the ship sank.

The same goes for how a character dresses. You may find what you need in old photographs from which you describe the type of clothes your characters wore. Similar information may appear in old letters written by a friend or relative of the character about him or her. Remember, you need to find facts about the person to fill out the characterization. Begin with what you know about the person and then do specialized research to fill in any voids in your characterization. You may not need much, just the essence.

Next Week: Characteristics of Compelling Nonfiction Characters

Stop, Look, and Listen

“Stop, Look, and Listen.” Everyone is familiar with these signs at railroad crossings, but those same words can also help you improve your writing.

STOP
Know when to stop. That’s probably the primary thing that separates beginning from seasoned writers. In the beginning, you sometimes feel that when you’re on a roll, you should just keep on going. But learning to know when to stop writing will help you write tighter and avoid rambling.

While it’s important to come to a logical conclusion, it’s just as important to say what you have to say in a compact way. Back in the mid-1990s, writing for the Internet caught many professional writers off guard. Many had been used to writing longer pieces for magazines, but the writing for Web sites required them to write short articles. For many, writing shorter meant working harder because they didn’t have to write as compactly before.

LOOK
When you’re involved in writing an article, story, or book, do you take the time to look at the piece overall? If you try to do that while you’re writing, it can be distracting. Instead, put the piece aside for while. Doing so will give you some distance from it, thus giving your brain time to forget it for a while. Reading over your work at another time gives you some perspective—a chance to see the bigger picture. It’s then and only then that you’ll be able to tell if what you’ve been writing makes sense.

LISTEN
Join a writers’ group and listen to what the other members have to say about your work. It’s important that any group you join has a leader whose skills are more advanced than those of the members of the group. Only in this way will personalities not enter into discussions as much, thus resulting in more honest critiques. Learn to listen to what others have to say about your writing while at the same time learn how to constructively critique others’ work.

Of course, some members of the group may dwell on grammar and such. That’s good, but you also want to encourage feedback about your content, length, and style. The real purpose of joining a writers’ group is to improve each others' writing, not to massage egos.

Also, listen to authors by reading their work. Learn to read like a writer, being on the lookout for techniques that you can use in your own work. Really listen to the way another writer tells his or her story or the way they delve into a subject in their article. Most people read an article, for instance, without looking at who wrote it. You need to be aware of the writer and be on the lookout for other works written by the same person.

Pay attention to how other writing sounds. If you like the way a piece reads, read a section out loud to yourself or into a digital recorder. Then listen to it several times to pick up its rhythm and style. Really listen then try it in your own writing.

You might also consider taking a writing class to help improve your skills. If you’re just starting out, take a good foundation course in creative writing, for example.  But if you’ve been writing a while, take classes focused on the type of writing you do. An alternative is to attend writers’ workshops and conferences.

When you finally get your big break, and an editor wants to work with you, be sure you’re ready to listen. Don’t be defensive. Don’t be argumentative. Listen. Listen to his or her feedback. Most editors have enough experience under their belt to know a good writer when they come across one. Even if your work is a bit rough around the edges, a good editor will work with you to improve it. They want what’s best for you and your story, and good editors always have a vision for what your article, story, or book can really be. Listen to them and let them guide you.

There’s No Guarantee of Success

Someone once said that success is one of those things that’s often impossible to predict unless you know you have it in the bag. With success, there are no guarantees.

Before you can be successful, you have to figure out just what success is for you. How do you define it? As a writer, is it getting published? And after you’re published, then what? When you first started out in writing—or if you’re just starting out—your main goal was to get published. You probably thought that getting published would prove to others, and more importantly to yourself, that you had made it as a writer. Unfortunately, one article, one short story, or one book does not a writer make.

So to truly understand what it means to be successful as a writer, you first have to understand what it means to be a writer. When someone asks you what you do, can you confidently say you’re a writer? You can and should do that only if you have a volume of work under your belt. Too many beginning writers are more enamored at the thought of being a writer—perhaps to impress your friends and family—than of actually being a writer.

Success can be and often is fleeting. There are those big successes in life, such as obtaining a college degree or raising a family, and there are those little successes, such as finishing the first draft of a novel. All of them are accomplishments. So to get a true handle on success, you must take into consideration all of your accomplishments. There’s something to be said for being an accomplished writer. That’s a person who has written and published a variety of things often in more than one subject area.

Even if you’re one of those lucky writers who publishes a book the first time out of the gate, having the book published, in essence printed, is no guarantee of success. In this case, your success amounts to how many copies of that book sold. And, even more important, how many copies have been read. Unfortunately, statistics only exist for how many copies sold, enabling you to get on a bestseller list. But a best-read list just doesn’t exist.

That said, you shouldn’t define your success as a writer by how many books you’ve written and perhaps published. Books are only part of the broader writing picture. Successful writers publish an assortment of pieces throughout their careers.

Some writers see awards as a gauge to success, collecting them at every opportunity. They figure that if someone chooses to give them an award, that they have made it as a writer. But the afterglow from an award often lasts shorter than a sunset. Once you’ve been applauded, everyone seems to forget, unless you constantly remind them.

To get an idea of just how successful you are as a writer, periodically list your accomplishments. Once a year or even every six months is often enough. You’ll be amazed at just how successful you’ve become. Remember, don’t count only the big successes in your career. Count the little ones, too. They all add up. 

Setting the Tone

Most writers get so involved with their writing that they aren’t aware of the tone they impart to it. In fact, it isn’t until a third party, someone like an editor, reads what you’ve written that you’re made aware of the tone or lack of it in your writing. Tone can create interest or just the opposite.

So what is tone anyway? Some say it’s the style of the piece. Others say it’s mood. And still others say it’s the author’s voice. Of the three, those who say voice are the closest. But it’s not the author’s voice but his or her attitude toward his subject—something that’s often hidden deep within the piece. Words used to describe tone might be authoritative, intimate, amusing, or aggravated.

Perhaps it might be easier for you to visualize tone. Photographers give mood to their work using light, either natural or artificial. It’s the way they choose to light their subject. The mood they create using light translates into tone. For heightened drama, they light their subject from the side. To increase horror, they light from below. For romance, they use soft candlelight. In films, directors convey the tone of a scene through its background music. Showing a person being pursued by a vicious dog wouldn’t be half as frightening without the ominous music that accompanies it.

But writers don’t have light or music. Theirs is a world of words. So creating the right tone, for the most part, involves using the right words, arranged in a particular way, for the effect you want. When a person speaks, it’s the volume of his or her speech that conveys the tone. But writing is silent. And that’s the challenge.

So if you use the wrong tone in a piece, it can ruin it for your readers. You’ll turn them off before they get half way through.

Unfortunately, it’s nearly impossible to hear the tone in a piece of writing while you’re working on it. It’s only after you’ve been away from it for a while that you’ll notice the tone. And it may surprise you. One way to make yourself more aware of the tone of a piece of writing is to read it aloud. Or even better, read it into a digital audio recorder, then listen to it as if you’re listening to a book on tape. You’ll hear the tone of the piece, whether good or bad.

The primary rule when working with tone is to keep it consistent from beginning to end. Establish your tone in the first sentence. Stay on track and don’t change tones within a piece. Look for places in your piece where the tone fades or shifts and focus your revision there.

Be wary of off-topic tangents. Don’t let your writing ramble. That will destroy the tone more than anything. Stick to your subject.

Depending on what you’re writing, you need to be aware of your voice, but don’t let it set the wrong tone. If the type of writing you do involves your opinion, don’t pussy-foot around. Express them. Take a stand. The worse thing is for you to try to avoid conflict with your readers. Don’t be polite just because you don’t want to offend your readers.

You can improve the tone of a piece by adding specific details. These draw the reader in and make them feel as if they’re part of the story or article. In fiction, this can help establish a character’s mood. In non-fiction, it adds depth and credibility.

However, working with tone can present problems. When bad things happen to people, some react by writing a book about the experience. Usually, it’s a bad book about all the horrible things that happened to the author. It presents little hope to the reader. This is common with people who have had a bad medical experience, feel strongly about controversial issues, or are angry about other people’s behavior.

To fix the tone, you have to fix the way you think about a given subject. You have to back off, calm down, see other points of view, maybe even take some responsibility for whatever happened. When writing about delicate subjects, you mustn’t let a negative tone take over the piece.

Putting Off What You Can Do Today Until Tomorrow—or Never

How many times have you stared at your computer screen or perhaps looked out over it through the window to the outside? There you are, staring into space instead of writing. Why can’t you focus? Oh well, you decide to go for a walk instead—or perhaps clean out your clothes closet or rake the yard or check your news feed on Facebook for the third time today. I think you get the idea. Procrastination, that ugly habit of putting off what should be done today until tomorrow. All writers experience it. So why should you be any different?

Why does procrastination take such a stranglehold on writers? It happens to other people, too, but with writers it seems especially prevalent. Maybe it’s because writing is a mental thing. It takes more effort to get your mind going than your body. Thinking is hard work. And some days you just don’t want to think.

You have ideas—lots of ideas. Which one should you choose to write? That can be a challenge and that in itself can lead to you to procrastinate. This problem is particularly severe when writing a book. If you write non-fiction, you have the facts of a story to fall back on, but if you write fiction, all you have is your imagination, and perhaps some research. That’s not much to go on.

If you’re planning on spending the next year or two writing a book, it better be a good idea. What if you spent all that time, and it turned out to be a bomb? So you decide to take your time. But this can lead to a draw. As your ideas compete with each other for your attention, it draws you away from the one that is most likely the best.

Let’s face it, ideas are always better in your mind than on paper. It never fails. Once you start developing an idea, it seems to lose its punch. Again, if you write non-fiction, you can always dig up more facts. But adding extraneous material to your fiction can often water down a good idea. This can lead you to hesitate getting started for fear that once you start writing, your great idea will fizzle. That just may be because you didn’t thoroughly think out that great idea in the first place.

For a few writers, telling others about what they’re planning to write helps them think out the idea. But for the majority of others, telling friends and family about an idea can often take the motivation out of writing about it.

Feedback is important, but if you get feedback on your idea too soon, it can stymie your need to write it. Plus, the feedback you get from friends and family may not be the type you need. To make sure your great idea gets rolling, only you know what should go into it. Any of this premature feedback is only opinion. And those opinions may be wrong.

One way to avoid procrastination is to plan out a project. While you don’t need to jot down every detail, you do need to block it out so that you have a good overall idea of how it will take shape. Without some sort of a plan—even a loose one written on a scrap of paper— you’ll most likely stall before you make any headway.

Knowing where you’re going in an article, story, or book enables you to begin, stop or switch to something else, and then come back to pick up where you left off. If you think writing is all about sitting in front of a computer screen and waiting for the words to pour out, you’ll be sitting there waiting until tomorrow—or maybe never.

A Dickens of a Christmas

Today, everyone gets swept up in the retail, shop-til-you-drop world of Christmas. But for several centuries, it’s been writers who have memorialized holiday traditions or even created new ones through their stories. Two that come to mind are Clement Clark Moore’s poem “Twas the Night Before Christmas” and Charles Dickens’ novella “A Christmas Carol,” my all-time favorite.

It just doesn’t seem like Christmas without ole Charlie Dickens’ classic. Sure, the ghosts are spooky, but he draws his readers into the story in such a way as to make them experience cold, snowy, in some ways, desolate 19th-century London. I’ve seen every film version and have read the story many times. In some ways, it was Charles Dickens who inspired me to be a writer. And to think it all started with Christmas.

“A Christmas Carol”is probably the best-known and best-loved Christmas story of all time. It has even been credited with changing the way 19th-century Brits and Americans celebrated Christmas. Dickens’ tale tells the story of a greedy, rich, Christmas-hating old man named Ebenezer Scrooge who’s constantly proclaiming “Bah, humbug!” One Christmas Eve Scrooge receives a visit from three spirits. These spirits—the Ghost of Christmas Past, the Ghost of Christmas Present, and the Ghost of Christmas Yet To Come—show him scenes from his past, present, and future. This supernatural experience transforms him into a joyous, generous soul who cherishes Christmas above all other times of year.

But what inspired Dickens to pen such a story? Most literary historians believe it was his
concern for the poor that brought him the inspiration needed to write “A Christmas Carol.” In September of 1843, at the invitation of Miss Angela Burdett Coutts, a wealthy philanthropist and a friend of his, Dickens toured one of London's Ragged Schools. Funded by private charity, these schools sought to educate some of the city's poorest children. The visit moved him so deeply that he spoke on the link between poverty and ignorance at the Athenaeum, an organization dedicated to educating workers, in Manchester. It was while he was in Manchester that the idea of transforming his impressions of the Ragged School into a work of fiction planted itself in his imagination. That October he plunged into a new story called “A Christmas Carol.” And while his social concerns may have inspired him to write the tale, it was his empty pockets that provided the motivation to undertake his new project.

Lately, Dickens’ financial situation had become dire since the sales of his latest novel, Martin Chuzzlewit, were floundering. Dickens felt sure that a story like “A Christmas Carol” would appeal to readers at Christmas time and thus generate needed cash. For he wasn’t only a good writer but a sensible businessman.

Dickens blazed through the writing of his new story, completing the manuscript in only six weeks. The project seized hold of him, inspiring him to work from morning until late at night. He passed some of these nights striding as many as 20 miles through the shadowy, still London streets, meditating on the story. In a letter to a friend he confessed that the work so charged his emotions, he found himself alternately laughing and weeping, an experience he transferred to his main character, Ebenezer Scrooge, in his story.

Dickens financed the publication of the slim little book himself, insisting on illustrations and a quality binding. It appeared in bookshops on December 19, 1843. Dickens complained that booksellers seemed uninterested in promoting the story. Nevertheless, the entire first printing of 6,000 copies sold out in less than a week. After subtracting what it had cost him to produce the book, though, Dickens earned very little from its first printing.

But Dickens managed to celebrate Christmas merrily that year, exclaiming in a letter to a friend that he had rarely experienced a Christmas season so full of dining, dancing, theater-going, party games, and good cheer. He even attended a children's party where he entertained the assembled company with magic tricks, to all appearances dumping the raw ingredients of a plum pudding into a friend's hat and pulling out the finished product. The children’s party also appeared in his story. It was as if Dickens, himself, had become Scrooge and relished in the joy of Christmas.

So while writers may write about more mundane subjects throughout the year, it’s often Christmas that brings out the best in them. And while it may be too late to compose your own Christmas story for this year, there’s always 2015.
Merry Christmas!

Who Cares?

Lots of people think they have a story that everyone will want to read. But unless you’re a  celebrity or have done something extraordinary, no one cares. You could be the best writer in the world, but if your story doesn’t grab readers, it won’t matter. Don’t make the mistake of assuming that your story will be interesting to anyone beyond your family and close friends. And even they may not be interested.

Many writers truly believe that their story has the makings of the next New York Times bestseller, whether it be a messy divorce, their battle with cancer, or the adventure of a lifetime. But most of the time, their story lacks what it takes to make it big.

Those that have endured a traumatic experience often feel that the experience, itself, is enough to a make a story engaging. It isn’t. What’s needed is a hook, something to draw the reader in and keep them there. How much you’re involved in the story is irrelevant. What matters is how it affects the reader.

Once there was a woman whose husband had died after a failed operation. She blamed the surgeon and wanted to lash out at him by writing a book about the incident. What she didn’t realize was that she wanted revenge, not to educate her readers on how to avoid a similar situation or what to do if the same thing happened to someone they loved. This beginning writer wrote her story and then paid $8,000 to a vanity publisher to have it printed. What she ended up with was a room full of books and no way to sell them.

But in today’s digital world, you could write a book and put it on Amazon for next to nothing. So it’s important that you write your story with your readers in mind—what’s in it for them, not what’s in it for you.

Another problem with the scenario above is the word “beginning.” As a beginning writer, and most likely one who hadn’t written anything before, the woman would have lacked the writing skills and research expertise to enable her to do a professional job on her book.

A lot of seniors fall into this category. They feel that because they’ve lived a long life,  everything they have to say is interesting. They read memoirs of famous people and say to themselves that they could write a book just as good. But most of the time they can’t. The situation leads to a lot of frustration and disappointment.

So what does it take to hook your reader? First, your story doesn’t have to be earth shattering, but it does have to relate to readers on their level. It has to offer them something—information, advice, hard facts—that will allow them to apply whatever happens in the story to their own lives. This applies to both non-fiction and fiction.

Many beginning writers chose to fictionalize their stories to avoid having to be associated with them, thus avoiding the possibility of getting sued. Even if you turn your true-life story into a novel, you still have to relate it to the reader. And if your characters are anything like the real people in your experience, you could still get sued. But frankly, a non-fiction version will offer a lot more credibility since it actually happened to you.

Professional writers target their readers. They usually don’t write to a general audience, but to a specific group of readers—men, women, young, old—who would most likely benefit from what they have to say. True, bestselling books often get read by a large audience, but they weren’t written that way. They were first written for a specific one and then got picked up by other groups when the book became a viral hit.

So before you pour your heart out in a book that may not go anywhere, think about what you have to offer your readers.

Share Your Gift

Christmas is a time for sharing and gift giving.  As a writer, you have a gift—a gift to share. And this is the time of year to do it.

Some people write letters to along with their holiday greeting cards. While these may be interesting to family and friends, they’re usually of little interest to acquaintances or business associates. As a freelance writer, you can use this opportunity to do something special.

If you write non-fiction, you can write a short article on a subject that interests you or that you specialize in. Remember it needs to be short—no more than one page single spaced. You’re probably used to writing much more, so writing something this short will be a challenge. But as a professional, you should be able to make this short piece as interesting and focused as a regular article for a magazine. The secret to be extremely focused. Take one small topic and elaborate on it. For instance, why not something on gingerbread. This could be as a piece focusing on a Christmas tradition, or a food decoration piece about making gingerbread houses, or something on the origins of gingerbread.

If you write fiction, you could write a very short story. Perhaps you’re used to writing short stories that are 10-20 pages long. You won’t have that luxury, so you’ll need to write a story that’s extremely short, but still has conflict and a climax. This will force you to have perhaps just one or two characters and action that takes place in a short span of time and at a single location. Let’s take the topic of gingerbread and see what sort of story you can write—perhaps a story about a gingerbread house that comes to life or a special gingerbread cookies or the story of a little girl who made special gingerbread cookies for a homeless person.

Whatever you write, your friends, family, and colleagues will appreciate it. But writing the story is only the beginning. Today, you have a number of ways of sharing your work with others.

With fewer people sending Christmas cards by regular, you may choose to send your story out by Email. Or perhaps you’ll choose to post it to your Web site. And with so many social media outlets available, you may want to post it as a note on your Facebook Page or perhaps post it on other social networking sites.

Whatever you decide to do, you’ll find it’s a great way to send greetings to those you love and also a great way to promote your work to those you’ve worked with throughout the year or those you hope to work with in the coming year.

Happy Holidays.

It’s All in the Edit

Next to writing the actual words, your most important job as a writer is to edit your work. Good editing makes all the difference between writing and really good writing. However, many writers find it tedious—they like only the buzz they get from the actual process of writing. Also, just as many writers don’t really know what editing is all about. They think they know based on corrections made by English teachers when they were in school, but this is far from the editing needed to make a writer’s work look professional.

First and foremost, before doing any editing, step away from your work. Let it sit idle for at least a day or several. The longer you refrain from looking at it, the better. Your mind will forget about it eventually, so when you do look at it again, you’ll see it in a new light.

Editing is much more than just correcting mechanical errors—spelling, punctuation, verb tense, pronoun agreement, and general sentence structure. Editing deals with the content of your piece. Does it make sense? Is the flow logical? Are your words familiar enough for all readers? (See my previous blog on using $20 words).

Whatever you’ve written, you’ve done so to express yourself on a particular topic. Have you done that? Will that be clear to your reader? Clarity is the number one problem with most poorly edited writing. Remember, your reader can’t phone you or send you an E-mail to ask what something means.

Generally, editing consists of four jobs:  deleting, rearranging, rewriting, and correcting.

First read through your work and delete any word, phrase, sentence, or paragraph that doesn’t belong. If you can eliminate the word and there's no loss of meaning, then eliminate it.

If you haven’t looked at your work for a while, you may notice that some parts need to be rearranged for better continuity. Readers won’t make the leap, so don’t expect them to figure out what you mean. Make your writing logical. If you’re not telling your story chronologically, make sure you won’t lose your reader in the process.

After you delete parts or whole sections and rearrange others, you’ll most likely have holes to fill, so you’ll have to rewrite some parts to make sure they read well and make sense. In this editing phase, you may also want to check for smooth paragraph transitions. These help your writing to flow effortlessly from paragraph to paragraph.

Lastly, and only then, correct any errors in spelling, punctuation, verb tenses, and pronoun agreement.

Once you’ve edited your article, short story, or book, it may be time to let someone else have a crack at it, especially if it’s a book. Find someone who is a serious reader to go over it in detail. Better yet, hire a professional book editor. With the ease of self-publishing for Kindle or Nook, too many writers today are trying to sell what amounts to writing trash. Make sure whatever you sell is the best it can be before you put it on the market.

Payment on Acceptance or Publication

Writing for publication can have its drawbacks. For beginning writers, just getting published is enough. But for professional writers–those of us you need to get paid for our writing–when and if we get paid becomes a continual concern.

Professional writers’ associations like the prestigious American Society of Journalists and Authors (ASJA) continually say writers should get paid on acceptance. That means getting paid the moment an editor accepts an article or short story. Well, that’s easy for them to say.

In today’s madcap word of publishing, fewer and fewer publishers of periodicals are paying their writers on acceptance. They want to keep their money as long as they can, and so do their advertisers, who are paying their bills later and later. So what is a writer to do?

First, find out beforehand when the publication pays its writers. You can easily find this in such directories as Writer’s Market, published by Writer’s Digest Books. If you don’t see the publication you’re interested in within its pages, then call the editor and ask. Too many magazines, for instance, want your story months ahead of time, but don’t pay for perhaps a year later. You can’t wait a whole year to shop at the supermarket!

Many publications pay on publication–or more to the point, perhaps 30-60 days after publication. If you’re expecting immediate payment as soon as your piece is published, don’t bet on it. This has become more the norm than not.

The argument ASJA makes is that payment on publication may mean never. What they mean by this is that the publication may close up shop before you get your money. Unfortunately, in today’s economy, that’s the risk you have to take. Otherwise, go get a job at McDonald’s.

In order to write and publish and still get by, you need to work on a number of projects. Always have something in the works. Sending an article or story off every so often will make sure that the payments also come in every so often. 

Write as You Talk

Not so long ago, most people viewed writing as a formal activity not related to talking. In the last 20 years, that idea has pretty much gone the way of the trolley car–while there are still some around, most remaining ones can only be found in museums.

In today’s hurry up, chat and text world, many people have dropped their guards when writing, much to the chagrin of many retired English teachers. Besides writing for a living, I also teach others how to write as part of my business. One thing I’m constantly telling my students is to write as they talk.

Today, good writing is conversational writing–writing that reads and sounds like good conversation, only the writer makes it go where he or she wants it to. To get my students started on this road to good communication, I tell them to pretend their reader is sitting across the table from them and then just tell the reader their story–only on paper.

Recently, I’ve gotten to know a local newspaper reporter. During the week, he reports on the humdrum details of our county court system. But on Saturdays, he gets to write a column where he can express himself on whatever he pleases. I got to read one of his columns for the first time last week. He writes in a witty style but seems to want to let everyone know that he is a WRITER by including lots of more sophisticated words than he would ever use in conversation on the same subject.

A few days later, he sent me an E-mail in which he told another story. It had that same wry sense of humor his column had but without all the big words. In other words, he was speaking right to me, the reader, not past me the way a lot of writers think they have to do. And why should writing an E-mail message be any different than say writing an article or a story?

My point is that if more people just wrote as they talked, we’d have much better communication all around.