Blind Baby Raised by Worms

By Joe Moore

When I first started attempting to write fiction many years ago, I subscribed to and devoured all the writer’s magazines out there. Writers Digest, Writer, and many more. I read every article, sometimes multiple times, and I would use a yellow highlighter to mark those pearls of wisdom from the experienced authors on how to be a better writer. Over the years, I accumulated large piles of magazines containing many yellow highlights. When the day came to clean out my closet and give the copies away to some of my writer friends, I first sat down and went through every edition, copying those jewels of advice into one complete list. Today, I will share them with you. Maybe you might not agree with them all, but there’s a wealth of advice from countless bestsellers that can help improve anyone’s efforts at being a better author.

And if you’re wondering why this blog post is called Blind Baby Raised by Worms, check writing tip number 35. It’s the only one I personally contributed. Enjoy.

1. Easy writing makes hard reading, but hard writing makes easy reading.

2. Surprise creates suspense.

3. Vulnerability humanizes a character.

4. Anything that does not advance the plot or build character should be deleted.

5. Their reaction to a situation shows a great deal about your characters.

6. What your characters say and do under stress reveals their true feelings.

7. Coincidence is used effectively when it sets up a plot complication instead of a resolution.

8. Use all the senses to build your setting.

9. You are not accountable for the absolute accuracy or completeness of your factual information as long as it’s plausible. Write so it sounds right.

10. You can build characterization by seeing your character from another’s viewpoint.

11. The reader doesn’t know how a story will resolve, but they should have no doubt what must be resolved.

12. As a story grows, so should the obstacles.

13. Any word that can be substituted by a simpler word should be.

14. Suspense is created by having something extraordinary happen in an ordinary situation.

15. The simile includes the quality that is being compared as well as the comparison. The metaphor’s comparative frame of reference is only alluded to in the image used.

16. There must always be conflict in some form to keep the story interesting.

17. Deleting “very” usually strengthens a sentence or phrase.

18. Your story must interest you. If it does, there’s a good chance it will interest someone else.

19. Credible prose is not self-indulgent; it exists to illuminate the story, not to show off how clever the writer can be.

20. If you cannot describe your story in one or two sentences, you’re in trouble.

21. Rather than describing your characters, come up with actions that show what they’re like.

22. One way to decide if sex in a scene is necessary is simply to delete it.

23. If it comes easy, it’s a cliché.

24. Don’t give your characters names that are similar, start with the same letter, or are hard to pronounce.

25. A cliché is a sign of a mind at rest.

26. Think of your settings as a character.

27. The reader must feel that your characters were alive before the story began and will live on after it ends.

28. Begin the story where the reader will anticipate what happens next but is compelled to guess wrong.

29. A commercial novel is one that a lot of people buy, finish reading and tell others to read it.

30. The average reader must be considered a genius with the attention span of a two-year-old.

31. To get an editor’s attention, you have about three paragraphs in a short story and three pages in a novel.

32. Conflict, the basis of all good writing, arises because something is not going as planned.

33. Villains never think of themselves as “bad guys”.

34. Always start with the character, not the plot. The needs of the character will drive the plot.

35. Always use a cheap tabloid-style blog title to grab attention.

Are you a “student” of writing magazines and books? Have they been helpful? If so, which ones?

10+ Favorite Writing Books

Cricket McRae

You can’t learn how to write from a book. Wait, that’s only partially true. Because I think you can learn a lot about how to write from a combination of many books.

I cut my teeth on Dorothea Brande’s Becoming a Writer and Barbara Ueland’s If You Want to Write as basics. Julia Cameron’s The Artist’s Way, Vein of Gold, and The Sound of Paper are a lot about finding yourself as an artist, and still provide inspiration when I’m wondering why the heck I do this again? But if I had to choose just ten books to keep on my office shelf (not counting things like a Webster’s Dictionary, Roget’s Thesaurus and Strunk and White’s Elements of Style and Elements of Grammar), these are the volumes I’d choose.

On Writing by Stephen King. Well, duh. Not exactly like I’m alone in this one. Full of practical advice, inspiration, and autobiographical detail.

Bird by Bird by Anne Lamott. Sorry – another duh, but still one of my favorite books for keeping sane in the middle of a project, reminding me that I only have to fill a space the size of a picture frame right now, not write the whole book at once, and that shitty first drafts can be fixed up later.

Zen in the Art of Writing by Ray Bradbury. A collection of essays that are not only examples of writing I want to emulate, but full of joy and passion for the craft. He wants you to love it, to do it every day, and to be true to your voice.

Starting from Scratch by Rita Mae Brown. I love her mysteries, I love her mainstream literary fiction, and I love her writing book. She includes practical writing advice (with an emphasis on the classics) but also practical living-as-a-writer advice. Things like writing with a day job, dealing with critics, editors, agents, and others in the industry, as well as emphasizing that you have to persist no matter what.

Anything by Eric Maisel. Yes, this is totally cheating because now there are more than ten books. But Maisel wears a lot of useful hats, because he’s a doctor of psychology with an MFA, as well as a professional, hands on, writer of fiction and nonfiction with a degree in philosophy. He’s a creativity coach, and understands some of the craziness writers and other artists are prone to. Of course, I’m not talking about anyone here, right? The following are a sampling of his titles:

• Fearless Creating: A Step-by-Step Guide to Starting and Completing Your Work of Art
• Brainstorm: Harnessing the Power of Productive Obsessions
• Mastering Creative Anxiety
• The Van Gogh’s Blues: The Creative Person’s Path Through Depression
• Deep Writing: 7 Principles That Bring Ideas to Life
• Ten Zen Seconds

The Writer’s Journey: Mythic Structure for Writers by Christopher Vogler. I’ve heard this modern classic called a book on formula, but I think it’s more about the universal elements of storytelling that have appealed, well, forever. He breaks things down in terms of structure, archetypes, and the psychology of myth.

Story: Substance, Structure, Style and the Principles of Screenwriting by Robert McKee. Yeah, okay, I love the movie Adaptation and how Charlie Kaufman pokes fun at McKee, but I learned a lot about storytelling from this book – including why my instincts told me to go certain directions with plot or character. It’s a heavy tome, though, and if you want a short work with many of the same concepts, try The Poetics by Aristotle.

How to Write: Advice and Reflections by Richard Rhodes. From the Pulitzer Prize winning author of The Making of the Atomic Bomb, this is another book with practical advice woven into personal essay. It’s part memoir and part psychological treatise on the emotional aspects of writing well. However, the best writing advice in it might be, “Apply ass to chair.”

No More Rejections: 50 Secrets to Writing a Manuscript that Sells by Alice Orr. Though the subtitle on this book is small enough that I’m afraid people in the coffee shop will think I’m having relationship problems (like they give a hoot what I read, right?) this book is chock full of good, practical stuff that, to my great chagrin, I sometimes forget: How to deepen characters, how to write a good, useful sex scene, what you need to know before you start to write even if you end up leaving it out, etc. It’s geared for novel writers, especially genre writers.

The Writing Life by Annie Dillard. Yep, another Pulitzer Prize winner (for Pilgrim at Tinker Creek). Rather than a pep talk, she delves into how hard writing can be – she really hates it sometimes – and how utterly frightening, while at the same time it can be an almost spiritual experience. Her writing is real and human and accessible while being inspirational and raw as well. Of course, I love everything she’s written, even the rather obscure The Living.

What are your favorite writing books? As a reader, do you like reading about how writers like these think?

Writing is Rewriting

By Joe Moore

I just finished the first draft of my new thriller, THE BLADE, co-written with Lynn Sholes. This is our sixth novel written together; this one coming in at a crisp 92,500 words. Now that the first pass on the manuscript is finished, the rewrite begins. As E.B. White said in THE ELEMENTS OF STYLE, “The best writing is rewriting.”

Some might ask that if the manuscript is written, why do we need to rewrite it? Remember that the writing process is made up of many layers including outlining, research, first drafts, rewriting, line editing, proofing, more editing and more proofing. One of the functions that sometimes receives the least amount of attention in discussions on writing techniques is rewriting.

There are a number of stages in the rewriting process. Starting with the completion of the first draft, they involve reading and re-reading the entire manuscript many times over and making numerous changes during each pass. It’s in the rewrite that we need to make sure our plot is seamless, our story is on track, our character development is consistent, and we didn’t leave out some major point of importance that could confuse the reader. We have to pay close attention to content. Does the story have a beginning, middle and end? Does it make sense? Is the flow of the story smooth and liquid? Do our scene and chapter transitions work? Is everything resolved at the end?

Next we need to check for clarity. This is where beta readers come in handy. If it’s not clear to them, it won’t be clear to others. We can’t assume that everyone knows what we know or understands what we understand. We have to make it clear what’s going on in our story. Suspense can never be created by confusing the reader.

Once we’ve finished this first pass searching for global plotting problems, it’s time to move on to the nuts and bolts of rewriting. Here we must tighten up our work by deleting all the extra words that don’t add to the reading experience or contribute to the story. Remember that every word counts. If a word doesn’t move the plot forward or contribute to character development, it should be deleted.

Some of the words that can be edited out are superfluous qualifiers such as “very” and “really.” This is always an area where less is more. For instance, we might describe a woman as being beautiful or being very beautiful. But when you think about it, what’s the difference? If she’s already beautiful, a word that is considered a definitive description, how can she exceed beautiful to become very beautiful? She can’t. So we search for and delete instances of “very” or “really”. They add nothing to the writing.

Next, scrutinize any word that ends in “ly”. Chances are, most adverbs can be deleted without changing the meaning of the sentence or our thought. In most cases, cutting them clarifies and makes the writing cleaner.

Next, go hunting for clichés and overused phrases. There’s an old saying that if it comes easy, it’s probably a cliché. Avoiding clichés makes for fresher writing. There’s another saying that the only person allowed to use a cliché is the first one that use it.

Overused phrases are often found at the beginning of a sentence with words like “suddenly,” “so” and “now”. I find myself guilty of doing this, but those words don’t add anything of value to our writing or yours. Delete.

The next type of editing in the rewriting process is called line editing. Line editing covers grammar and punctuation. Watch for incorrect use of the apostrophe, hyphen, dash and semicolon. Did we end all our character’s dialogs with a closed quote? Did we forget to use a question mark at the end of a question?

This also covers making sure we used the right word. Relying on our word processor’s spell checker can be dangerous since it won’t alert us to wrong words when they are spelled correctly. It takes a sharp eye to catch these types of mistakes. Once we’ve gone through the manuscript and performed a line edit, I like to have someone else check it behind us. A fresh set of eyes never hurts.

On-the-fly cut and paste editing while we were working on the first draft can get us into trouble if we weren’t paying attention. Leftover words and phrases from a previous edit or version can still be lurking around, and because all the words might be spelled correctly or the punctuation might be correct, we’ll only catch the mistake by paying close attention during the line edit phase.

The many stages making up the rewrite are vital parts of the writing process. Editing our manuscript should not be rushed or taken for granted. Familiarity breeds mistakes—we’ve read that page or chapter so many times that our eyes skim over it. And yet, there could be a mistake hiding there that we’ve missed every time because we’re bored with the old stuff and anxious to review the new.

Spend the time needed to tighten and clarify the writing until there is not one ounce of fat or bloat. And once we’ve finished the entire editing process, put the manuscript away for a reasonable period of time. Let it rest for a week or even a month if the schedule permits while working on something else. Then bring it back out into the light of day and make one more pass. It’s always surprising at what was missed.

One more piece of advice. Edit on hardcopy, not on a computer monitor. There’s something about dots of ink on the printed page that’s much less forgiving than the glow of pixels. And never be afraid to delete. Remember, less is always more.

How do you go about tackling the rewriting process? Any tips to share?

Feeling Uncomfortable

Yesterday while working out on the elliptical machine at the Y, I was reading a woman's magazine to pass the time (instead of panting out the seconds to reach my 30 minute quota!). One article was titled "6 Weeks to a Younger You," so of course, I had to check it out. ;-) It consisted of a recommended set of lifestyle changes to implement each week for six weeks to improve the quality of your life so you look and feel younger, healthier, and happier. You know, the typical woman's magazine article.



In glancing through the nuggets of wisdom that included things I was already doing, like eating more fruits and veggies, exercising regularly, using sunscreen, solving crossword puzzles, and so on, one piece of advice really resonated with me:



Resolve to do one thing each day that makes you feel uncomfortable.



If you followed this advice, you would constantly be nudging yourself out of your comfort zone, trying new things and confronting problems, instead of wallowing in the same old rut that keeps you from growing and learning. Soon, making risky decisions, even little ones, would become a habit. Wow!



Resolve to do one thing each day that makes you feel uncomfortable.



What great advice that is for a fiction writer. The last place you want to be when telling a story is someplace comfortable. Because that means not only are you bored, your reader is bored. Through your characters, you have to experience uncomfortable emotions, solve uncomfortable problems, and confront uncomfortable experiences. Otherwise, your story isn't interesting. So, why not apply what works for your story and your characters to yourself?



I thought back on occasions in the past few years when I've made a decision to do something that felt uncomfortable in my writing life, and how much personal learning or progress resulted. For instance:



When writing my rough draft manuscripts, I now publicly post my word count goals and progress. I used to do it on the Pikes Peak Writers yahoogroup or a Sisters in Crime Guppies goal-setting subgroup or other small forum, but now it's on my Facebook page, for all of my thousands of friends to see. Why do that? It makes me accountable and forces me to put my (ever increasing) butt in the chair and pound out the words instead of finding some housecleaning or gardening to do instead.



Once I stood up to read at a Pikes Peak Writers gathering, even though I hate to do readings and know I suck at them. I asked for honest feedback on my presentation skills (or lack thereof), and then I read not just a piece of fiction, but a poem, one of the very few that I've written in my adult life. Eek! My hands were shaking and I was sweating, but I plowed through it. The feedback from my fellow writers on how to improve my delivery was extremely helpful, especially from those who had done multiple poetry readings before. But what was even more gratifying was the praise I received on the poem itself. That gave me the courage to try writing some more.



I said "yes" to a request from a high school to make a presentation about how to write a short story. You may say, well that's not so bad, but this high school was in the most deprived and dangerous section of the city. All of my writing friends, once they found out where I was going, said there was no way they'd visit that school even in the middle of the day. Frequent reports of knife fights, drug selling, etc. in and around that school appeared on the police blotter. Then, I found out that I would be talking to not just one English class, as I had originally thought, but to a whole auditorium filled with students from five classes. And my contact said, "Don't worry, the teachers will stay and take care of any behavior problems for you." Yikes!



That was another sweaty palms experience. But it turned out fine. Yes, a few students slept through the talk, and the teachers quietly reprimanded a few other students during the talk, but I made my presentation highly interactive and asked a lot of questions. I even was able to get some students participating and talking. Later, a few young writers stayed to ask me about potential markets for their stories, and the teachers' gratitude was enormous. What an ego boost! I've since gone on to make many other presentations to high-school or middle-school-aged teens and have thoroughly enjoyed every one.



Other uncomfortable things I've done in my writing life have included saying "no" to volunteer jobs so I had the time I needed to write, telling a critique partner that their plot twist or character just wasn't working for me, including a character name in a charity auction even though I was a relatively unknown author (I was sweating again while waiting for someone, anyone, to enter that first bid), and more.



What about you? Have you done something lately that makes you feel uncomfortable? What happened? How did you feel afterward? Did you learn something or grow in some way from it? Please share! And,



Resolve to do one thing each day that makes you feel uncomfortable.

Please Ignore Common Wisdom

by Robin Allen

Living a right life is fine for you, but awful for your characters. They need to make bad decisions. They need to do the wrong thing. They need to suffer and be insufferable. There has to be conflict, tension, mayhem. If you're not sure how to make that happen, start with common wisdom and have them do the opposite.

"Great people talk about ideas. Average people talk about things. Small people talk about other people." –Eleanor Roosevelt

Feel free to talk about ideas and things yourself, but make your character petty and mean. Have her gossip about everyone and everything, including herself. She feels put upon by the world and gets even by starting rumors about her handicapped co-worker, the twelve-year old boy who cuts her grass, the neighborhood Schwann's delivery guy, a fellow volunteer at the shelter. How would she handle a religious conversion?

"Be the change you want to see in the world." –Ghandi

That never works, does it? Perhaps your character is trying to be the change, all zippity do-da, courteous to everyone he meets, kissing babies and serving meals at a soup kitchen that feeds the homeless and their rescued dogs. Life is Good with a capital G. How would he react to finding out that one of the weekend-only volunteers has been telling everyone that his doctor put him on anti-psychotic meds?

"Eat right and exercise." –Mom

For you? Yes. For your character? Yawn. Pump him full of sugar and processed foods, then put him in his car to drive two blocks to the convenience store for a twelve-pack of Monster Mayhem, the 100% caffeine thirst quencher, for the party he's throwing for his friends to watch two weeks worth of Tivo-ed Ultimate Fighting matches. What happens when his grandma comes over with his favorite strudel?


"Early to bed and early to rise makes a man healthy, wealthy, and wise." –Ben Franklin

No, no, and no. Sick, poor, and stupid is much more interesting. Keep your character out clubbing into the wee hours (but please don't make her a vampire), then send her out at four o'clock in the afternoon to spend her last $3.00 on breakfast. What would she do with the puppy she agreed to take care of while her sister is on her honeymoon?

"A pessimist sees the difficulty in every opportunity; an optimist sees the opportunity in every difficulty." –Winston Churchill

The only way an optimist would make for interesting reading is if he keeps getting sideswiped by life. Make things easy on yourself and make your character glum and suspicious and with a serious case of malaise. He won't bend down to pick up a dollar bill because he might get a paper cut. He wouldn't cross the street to avoid his worst enemy because he might get hit by a car. He won't accept a promotion at work because the pay raise will put him into a higher tax bracket. What does he do when his newly engaged brother asks him to be best man at his wedding?

"Eighty percent of success is showing up." –Woody Allen (no relation)

Reliability is a great trait for automobiles and overnight delivery services, but not for characters. Not interesting ones, anyway. Never let your character show up for anything—jobs, dates, classes, hair appointments. What happens when her parents force her to sign up to be a camp counselor?

Stories are about character change and growth, so the guys and gals who people your stories should be somehow different at the end. When you ignore common wisdom, you have a path for change. How you get there is what makes the story.

As writers, what methods do you use to define your characters? As readers, what are some of your favorite well-drawn characters?

Robin Allen
Author of the Poppy Markham: Culinary Cop Mystery Series
If You Can't Stand the Heat
Now available on Kindle, Nook, and eBook
See my poem "A Friday Afternoon" in the 2012 Texas Poetry Calendar

FAN MAIL I COULD DO WITHOUT

Shortly before leaving for Malice Domestic, I received a snail mailed fan letter in my PO box. On the advice of other published authors, I had taken out the PO box over six years ago after I sold my first book. Back then, most social media was either non-existent or in its infancy, and most readers still contacted authors via snail mail, not email. My PO box address was included in the bio at the back of my book and on my website. By the time I’d sold my third book, email had replaced snail mailed fan letters, and I dropped the PO box address from both my book bio and website.

So you can imagine my surprise when a fan letter turned up in my PO box, not just any fan letter, though. This fan letter was mailed from a state correctional facility -- a PRISON!

Although ASSAULT WITH A DEADLY GLUE GUN, my current release, is an amateur sleuth mystery, I began my publishing career writing romance. I’d heard that prisoners liked to read romances and often contacted romance authors, but I’d never received a prison fan letter back in my romance days. Now that I have, I wish I hadn’t.

My prison fan started off by telling me that he’s finishing his violation of parole (through a bit of Googling, I discovered the parole violation was for illegal possession of a deadly weapon, but I wasn’t able to uncover the reason for his various previous incarcerations.) He then went on to compliment my writing and tell me how beautiful I am (I’m old enough to be his mother!) Then he finally got to the point: He’s going to take the time to give me a few free pointers!

My prison fan had come up with a plan for me and an example of a story line -- all for a percentage of my book sales! He even outlined a plot. Now keep in mind, he wanted me to write romance because “romance is the greatest escape.” Except in his story, a prisoner (I hesitate to use the term hero) kills the heroine “after she helps get him released. (ha ha)” It was that parenthetical “(ha ha)” that really creeped me out.

He also gave me all sorts of marketing advice, including promoting in towns where prisons are located because the female employees of these prisons are “prisoners of there (sic) own passion and fantacies (sic).” I should believe him on this point, he said, because he has first hand knowledge.

He concluded his letter by telling me if I have any business questions, he’ll be incarcerated until early next year (he gave an exact date.) Along with the letter, he included Forbidden Love, a two page short story. I haven’t read it and don’t plan to.

Come next year, I’ll be on the lookout for twenty-something males loitering around the post office lobby. If I spy any, I’ll keep walking. Luckily, my fan is out-of-state. I hope he stays out-of-state. Meanwhile, I’m really glad I’m now writing about murder and mayhem. I’ve never heard of mystery authors receiving business proposals and marketing advice from prisoners. Have you?

Lois Winston writes the Anastasia Pollack Crafting Mysteries. Visit her at http://www.loiswinston.com and Anastasia at http://www.anastasiapollack.blogspot.com

Lucky Cats or Cat’s Meow?

Authors are often asked for writing advice, but so far only a couple people have asked for mine. Good thing, because until this week, I didn’t have any unique advice. But I just returned from a vacation in Disney World, where dreams come true, and here’s my advice for aspiring writers:

Buy a Lucky Cat.

Three years ago I purchased my first Lucky Cat at the Japan Pavilion in Disney World’s EPCOT Center. The Lucky Cat has a history of more than 500 years in Japan, where people love them as mascots of good fortune and happiness. The painted, wooden cats are often placed at the entrance to a home or in store windows, and they come in ten colors, all with different associated good fortune, and are about an inch tall. In 2007 I selected the white cat, which brings good luck and happiness, hoping to find an agent for my debut novel, For Better, For Murder. I brought the cat home and placed it in a window near our front door. My agent called a few months later and subsequently sold my book—and its sequel.

Last week I returned to the Japan Pavilion and purchased the black cat, which protects from illness and evil spirits, and the gold cat, which makes dreams come true and brings good luck in wealth. When I arrived home from vacation, I learned For Better, For Murder was a 2009 Agatha Award Finalist for Best First Novel.

Now, normally I’m not into lucky talismans or magic or any sort of folderol, but I see a connection. What writer doesn’t dream of getting an agent or writing an award worthy book? That’s twice now I’ve visited Disney World, where dreams come true, and purchased Lucky Cats, only to have my dreams come true.

Yes, a trip to Disney was part of the connection too, but my vacation was the reason I missed two phone calls attempting to notify me of the Agatha nomination. And I’ve visited Disney other times. So I’m thinking the cats alone will do the trick. Plus, aren’t cats often associated with traditional or cozy mystery novels? See, another connection! Hey, right or wrong, I believe in my Lucky Cats.

More importantly, many thanks to the people who nominated my book for an Agatha. They made this dream come true, and to me, they will always be the cat’s meow!