Writing Your Goals for 2011: Part 5- Continue Your Education

The last part of our series on goal setting focuses on continuing your education as a writer. There are many ways to enhance your knowledge of the craft of writing, and many of them will cost you nothing. All you need is the determination to keep learning.

If you missed the previous posts in this series, here are the links:

Part 1: Making Time to Write

Part 2: Making Your Writing a Business

Part 3: Your Personalized Query Plan

Part 4: Workspace Goals

Since each of us has different styles of learning, and varying levels of comfort, we'll start from large-group activities, and work down to the individual level. Feel free to pick and choose what appeals to you.

Writing Conferences. 

Benefits.  You want to feel like you're not alone in what you do. There are many others out there, many with the same fears and insecurities that you have. Inspirational keynote speakers give you the vision to keep going if you're feeling burnt out. You'll network with other writers, meet industry professionals, and learn from dozens of workshop presenters. Many conferences offer opportunities for personalized critiques and chances to pitch to editors and agents.

Drawbacks. The size of some (but not all) writing conferences can be daunting for the shy writer. While many workshop sessions are offered, they may not line up with what you specifically want to learn. And conferences cost a significant amount of money.

What you can do. If money (or your geographic location) is a factor, consider attending an online conference. Several are free, like the Muse Conference and WriteOnCon, and provide many of the benefits listed above without the drawbacks. Most conferences offer scholarships as well. The key to choosing a conference is to find one that lines up with your needs, budget and location. A good spot to search for writing conferences is Shaw Guides or the list by state at NewPages. You can also look for smaller regional conferences and writer retreats.

Graduate Study.

Benefits. Focused courses on how to write, taught by successful authors in their field. Individual critique of your work. The camaraderie of learning with other writers. Most Master of Fine Arts (MFA) programs have "low residency" options, where you do most coursework online, and in-residence attendance a few times each year.

Drawbacks. Not everyone has the money to invest in graduate classes. And some writers feel their writing style changes too much with this level of intense study. Before you decide, talk to writers and authors who have gone both routes.

What you can do. Research the different programs available at The Association of Writers and Writing Programs.

Workshops and courses.

Benefits. You can choose to attend the ones that target the topic you really want to learn. The smaller group lends itself to more personalized feedback. Online workshops and courses eliminate the complication of distance, and some of them are free.

Drawbacks. Depending on the course, prices might be prohibitive. If so, focus on the free courses you can take until you have the resources for the pricier ones.

What you can do. Sign up for newsletters from writer's organizations, and check their websites for courses. See if any of your local writer's groups offer free or low-cost workshops.

Books and blogs.

Benefits. It's surprising how much you can learn from books on craft. Read reviews to narrow down the possibilities, then borrow from the library before you decide whether to purchase a copy. Writing magazines offer a wide variety of information for a low cost. Check out magazines like Writer's Digest, The Writer, and Poets & Writers. They offer many articles online so you can get a feel for what they offer. And then there are blogs. Agent blogs are often as good as attending a workshop. And many authors offer free resources that can add to your store of knowledge.

Drawbacks. If internet time is at a premium for you, you'll want to lean more toward books and magazines. But if the cost of buying the books you'd like is prohibitive, then keeping up with a few blogs is worthwhile.

What you can do. There are so many books, magazines, and blogs to choose from, it can be paralyzing to sort them out. Check out book reviews and use Amazon's "look inside" feature to get a better idea of a book's value to you. Try out a few blogs each week before deciding which are the best fit for your current needs.

Individuals.

Benefits. Most people learn best one-on-one. This can be getting together with a writing friend, a critique group, or even reading a novel crafted by a competent author. Some writers decide to hire a professional editor, book doctor or coach.

Drawbacks. Be prepared for actual feedback on your writing. It means developing the skin of a rhino, but it will improve your writing. Hiring an editor can be quite expensive, so you may want to reserve it for after you've run your manuscript through several critiques.

What you can do. Start asking. Find writers around you who might be willing to get together. If that's impossible, join an online critique group. If you're considering an editor or coach, a few I recommend are A. Victoria Mixon, Mary DeMuth at The Writing Spa, and Meredith Efken's Fiction Fix-it Shop. If the cost is too high, keep an eye out on blogs for writing "auctions"--usually a fundraiser for a charity. Editors and agents offer critiques to the highest bidder, which can be far cheaper than hiring them directly.

Well, I threw a lot of information at you today. Don't get overwhelmed, just start with the information that's easiest for you to accomplish, and bookmark the page so you can come back each month to tackle a little more. By December, you'll be amazed at what you've learned.

Completing some online courses is first on my list. I think I'll start with some of Bob & Jack's offerings. How about you?

Agent Friday: Bree Ogden

 Bree Ogden is a newly minted literary agent with Martin Literary Management. Her background in journalism, philosophy, music, photojournalism, expository writing, and graphic design have all prepared her for her current role as an agent (though it all sounds exhausting!).

Ogden mainly looks for children's writers, but gravitates toward graphic novels and zombies in particular. She's energetic and passionate about the genres she loves. The meet Bree Ogden page on the agency site contains several of her interviews.

Here's a sampling of her blog posts to help you get to know her better.

The biggest question most writers have has to do with the dreaded query letter. Ogden doesn't leave you hanging. She regularly posts Naughty Query Tips to help writers know what not to do. And she shares query advice and even a query critique for those of us that are more visual.

 As a writer herself, Ogden sympathizes with our plight. We may be nervous now, but did you ever imagine that a writer's anxiety could actually increase afterThis Writing Thing . . . It's Hard Work. securing an agent. Ogden posts about it in

Who better than a zombie fan to help writers navigate the ever-growing world of paranormal literature? Ogden lays out the definitions in Supernatural vs. Paranormal, Vampire vs. Zombie. You might be interested to read why she concludes that Twilight is not paranormal.

Ogden believes that success comes from taking risks. She's put together a list of 10 Rules for Risky Writing, and each rule comes with an example of an author who has stepped out in that area.

Best of all, I really like Ogden's credo. It's a quote from author Jonathan Maberry, and I couldn't agree more:

"Here’s the bottom line: writers should always help other writers. Every chance they get. It’s part altruism (’cause writers are the good guys), part fun (it’s more of a kick when there are a lot more kids in the playground), and part industry savvy (if more writers are successful, then more good books will be published and more people will buy books)." --New York Times Bestselling author Jonathan Maberry, author of several books including Patient Zero and Rot & Ruin

What's your credo?

Free Resources from Martha Alderson, AKA the Plot Whisperer

I'm so excited about today's free resource. I still adore Rubik's Cube Plotting, and Holly Lisle's Free Plot Outline Mini-Course, but Martha Alderson, who goes by the name of The Plot Whisperer, is offering her valuable whispers. For free.

Alderson, who consults with novelists, memoir writers, and screenplay writers, is posting her advice, bit by bit on YouTube. She has her own YouTube channel, which to date contains nineteen short videos giving writers the keys to perfect plotting. Over the weekend, as I nursed a cold, I watched all the videos, taking copious notes as I did. And while I've learned a lot about plotting in the past several years, the Plot Whisperer taught me even more.

One of the things I liked about Alderson's tips are how she shares when to employ your plot points, not just the fact that you need them. You've probably heard about planning your first turning point. But do you know exactly where to place it within the pages of your manuscript? Likewise the crisis and the climax (which, in case you didn't know, are two separate events that Alderson explains clearly).

Alderson highlights her points by sharing how the techniques have been used in books of all kinds--from classic literature, to modern novels, to picture books. Picture books have a turning point? The answer is yes. In the last few days I've tested her advice, flipping through novels to see at what pages they place specific plot points. And you know what? Alderson knows what she's talking about.

Alderson has recorded all this information in her book, Blockbuster Plots Pure and Simple, which I've ordered and can't wait to receive. But she also shares even more information on her website, Blockbuster Plots for Writers, and she blogs frequently with more plotting tips. You may also want to sign up for her free newsletter or follow her additional tips on Twitter. It's no wonder her site has earned a spot in Writer's Digest 101 Best Websites for Writers two years running.

After watching Alderson's plot videos, I've been able to tighten my plot in some areas it was lacking, and I feel more confident about the chapters I've written. Try listening to Alderson's whispers--they could make a big difference for you.

What helps you most in your plotting?

Book Review: Is Life Like This?: A Guide to Writing Your First Novel in Six Months, by John Dufresne

It's not surprising that there are so many books on novel-writing that are structured around a time frame. Writers do want to finish, of course. And having a deadline can provide the motivation needed to get to "the end".

John Dufresne, a novelist and writing teacher, has added his own interpretation with Is Life Like This?: A Guide to Writing Your First Novel in Six Months. What makes his entry different?

Dufresne brings his own style to the book, and it reads like a friend sitting down in a coffee shop, who is willing to lead you through the confusing maze of writing your first novel. His introduction is one of the best pep talks for writers I've ever heard--and I've sat through quite a few wonderful keynote speakers at the conferences I've attended.

One point I appreciate is Dufresne's advice to "cherish" the uncertainty writers feel at the beginning of the writing process. His encouragement goes a long way to endow writers with the confidence to tackle the job of writing a novel.

Dufresne shares how the writing process works "by fits and starts, with equal parts elation and frustration". He tells why it's a good thing to lose your way in the course of writing a novel. And he admits that "everything in your life is incompatible with writing and always will be". How's that for a dose of reality?

Dufresne breaks down the novel-writing process into tasks and assignments for each week. He plans on having you spend three hours a day, for twenty-six weeks. Along the way, readers will learn all the basics they need on plotting, characterization, and dialogue, with wonderful quotes from writers interspersed with the chapters.

The author goes further, by giving details on keeping a writer's notebook and what to record in it. Many famous writers have kept such a notebook, and Dufresne quotes from some of them. He also shares how to analyze the novels you read and learn from them.

By the end of six months, you'll have a first draft, which then can be revised and polished. Realistically, within a year, dedicated writers can expect to have a manuscript ready for prime-time.

Perhaps a time frame will motivate you to finish your novel. What do you think?

Five Ways to Make Your First Page Better

At one of my first writers conferences (the amazing Pikes Peak Writers Conference), one of the sessions I attended was called a Read and Critique. Each audience member brought two copies of their manuscript's first page, and read it aloud in front of a literary agent--and the writers in the room. After each writer read, the agent commented on what she liked or didn't like about the first page, and whether she would keep on reading. It was definitely not for the faint of heart!

Though I was really nervous as a new writer, I learned a lot that day. Here's a glimpse back:

Twenty-five writers sit tensed in their chairs, palms sweating, throats clearing. Clutched in each pair of hands: a single page. Each sheet contains just 16 lines, but those lines hold power over each writer’s future.

As the agent steps into the room, 25 sets of eyes follow her and shine with questions. “Will she like it? Maybe a little?” “Will all these people snicker at the words I’ve written?”

A few sly glances gauge the distance to the exit, should the worst happen.

The agent, Sandra Bond, clears her throat (did she rub her palms on her slacks?) and surprises us all. “I’m much more nervous than all of you,” she says. It dawns on us that she is in the hot seat, having only five minutes to listen to and pass judgment on another’s writing.

Whether or not that makes us feel better, it does remind us that agents are human. They don’t like rejection any more than the rest of us. Sandra’s vulnerability eases some of the tension in the room.

As the writers stand and read from their pages, Sandra gives excellent, specific constructive criticisms, which add up to the equivalent of a wonderful seminar on how to hook a reader. Here are some highlights:

The first sentence is paramount. Start with a graphic, visual scene—action, tension, dark humor. Don’t confuse your reader with the first line, hoping they’ll keep reading to figure it out. They’re more likely to put it down. If your first line or paragraph doesn’t grab the friends you test it out on, try ditching it and begin with your second paragraph. Sandra says this won’t always work, but it’s worth a try.

Show your character’s personality immediately. Whether it’s through humor and sarcasm, or fear and paranoia, let your reader see your character’s quirks and sensitivities. What are the “must haves” or “can’t stands” in their world?

Beware the prologue. While many successful authors use them, Sandra warns that writers must be aware that lots of readers skip them. If your prologue reveals something crucial to the story, weave the information into your novel, or turn the prologue into chapter one.

Use the senses to pull in the reader. Two submissions that seemed to be popular with Sandra and the group as a whole, employed this idea. One focused on several unusual smells that helped connect us to what the main character liked and didn’t like. Another used sound—a particular sound brings back snatches of memories from the lead character’s life—and makes us want to know what sound stirred up these recollections.

If you’re tackling a memoir... Sandra noted that memoirs are a difficult genre to get into. In order to distinguish yours, accentuate your voice to make it compelling and unique. She told us that a memoir should never begin with, “When I was nine...” Find the voice that will grab your reader.

Attending a Read & Critique session helped me realize that I could not only survive reading aloud in a group, but pick up some great writing tips as well. 

Have you overcome your fears and read in a group? 

Writing Your Goals for 2011: Part Four-Workspace Goals

Fourth in our series designed to get you set to write your best in 2011 is a focus on your workspace. You may wish you could write in a secluded mountain cabin, or adopt the office of a famous writer, but reality dictates that all you have to work with is what you've got. Here are some ideas to make the most of it.

You may be dealing with a corner of your bedroom, or a spacious extra room. Perhaps you write in a coffee shop, or on your lunch hour. Think through your five senses, and see how you might be able to make that space your own with a few tweaks.

Sight. Visually, your space has a huge impact on you. It's time to figure out what inspires you, and what handicaps you, in regards to your writing. Some writers need lots of natural light. Others only the light of their computer. One writer is inspired by a fantastic view while the next finds it distracting. You may feel the need to work alone, or in a place bustling with activity. Try a variety of visual stimuli to figure out what works for you.

Sound. Quiet or noise? Classical music or rock? You may find white noise (a fan blowing, or a wave machine) helpful to block out distractions. Some writers work better when there is noise all around and they're able to create a quiet space in the midst of it. If you have small children, you may find you work well during nap time, or in the middle of a noisy kids' program.

Smell. We don't think about smell much. My daughter gave me one of those reed diffuser air fresheners for Christmas, and now my writing space smells like a spring rain. For you, it might be a scented candle, or the decision to remove the litter box from your office.

Taste. What gives you the energy to keep going during a long writing session? For me, it's a hot cup of tea, and maybe a scone or something. Keep a stash of nuts or seeds, and something to drink nearby. Train your body to realize it's time to work when you eat certain foods.

Touch. You may like the smooth feel of the keyboard under your fingers. Or maybe that's just the only way you've written. Try grabbing a legal pad, or a leather-bound journal and moving away from the computer. Yes, I know you'll have to type your words eventually, but sometimes a pen in hand connects to the creative side of the brain in a way that typing does not.

What have you done to create a workspace that makes you want to write?

Agent Friday: Jill Corcoran

Today we have another agent who is also a writer. Jill Corcoran is an award-winning author and poet. I have no idea how she makes time for both her jobs--plus her roles as a wife and mother. And she blogs. 

I'm feeling rather inferior today.

But it's time to shake it off and figure out what I can learn from this human dynamo. And while she represents children's literature at The Herman Agency, what she's learned in the business applies to all of us.

Since Corcoran fills dual roles as writer and agent, she's experienced querying and rejection from both sides of the desk. You'd imagine she's got something to say on the subjects. And you'd be correct.

Querying. Corcoran dissects a query in Formula for a Query Letter.  She explains how to format your query to send in an email. And then in How to Write a Query Letter, she gathers links from all kinds of agents with their advice. One stop shopping.

Rejection. No one likes it. But at least you know Corcoran has experienced it as a writer. Find some encouragement (and some great links) in The Dissection of Rejection and Rejection Revisited. If you're worried an agent will hate your manuscript, don't worry. Corcoran walks you through what to do if you hear bad news.

Where to start your story. The first pages of your manuscript are critical. You've probably had them critiqued multiple times, and polished them till they shone. But is your story starting in the right place? Strong writing is essential, but so is finding the perfect place to begin. Corcoran shares her thoughts on how to find that sweet spot to Activate Your Story.

Researching agents. In Monday's post on your personalized query plan, I recommended starting a list of agents to query in the future. Corcoran makes it easier, by compiling a list of links to sites where you can check them out.

Do you think you'd be able to handle writing and agenting?

Free Resources from Bob & Jack's Writing Blog

 I think you're going to be thrilled with today's resource. When I researched Tuesday's post on strong verbs, I found a blog with so many amazing resources, I've spent a couple of days browsing. It's time to feature Bob and Jack's Writing Blog.

Jack Remick and Robert J. Ray are successful novelists independently. Together, they wrote The Weekend Novelist Writes a Mystery, one of several sequels to The Weekend Novelist by Robert J. Ray. And together they host a blog bursting with information for fiction and memoir writers. If you've been looking for a site that not only gives detailed information on the craft of writing, but writing exercises, too, you've found the right place.

Bob and Jack's goal is to get you writing. To give you lines to get you started. Instead of just reading about how to write, they'll make you do it. I can't ask for anything better. It's like being a kid in a candy store.

On their site, Bob and Jack offer not one, but seven free writing courses. Courses like From Memory to Story and A Course in Memoir. Elements of Dramatic Writing or Make Bad Writing Better.

Are you a visual writer? They post diagrams to help writers of particular genres. The Birth to Now Diagram for memoir writers blew me away. But don't worry if you aren't writing memoir. There are diagrams for mystery, crime, and the hero's journey.

Of course there are plenty of articles on craft. Like How to Read Like a Writer, a three-part series that will make you a better reader. I'll definitely begin using the Scene Checklist--seventeen critical elements of a scene. If you're just getting started, check out the Beginner's Mind, an article explaining how to face a blank page, and use a timer to help you get going.

I've barely scratched the surface of Bob and Jack's blog, and that doesn't even include a separate site they maintain, based upon the Weekend Novelist books. The Weekend Novelist site has many more resources for the hungry writer.

I'm so glad I came across such giving authors. Many others would charge for the information they give away. Makes you want to go buy some of their books, huh?

Book Review: To Darkness Fled, by Jill Williamson

Last week I told you what makes me want to write. One thing is reading good books. I wrote that post after finishing Jill Williamson's book, To Darkness Fled. Williamson is a new author, who debuted with By Darkness Hid.

I write fantasy, so I love to read it. And Williamson does not disappoint. By Darkness Hid (Book 1) was full of action, intricate plotting, and believable characterization. To Darkness Fled gets even better.

Achan Cham, a "stray" even lower than a slave, has learned that he is actually the rightful king of Er'Rets. However, and imposter has taken the throne, and he is forced to flee into the perpetually dark half of the kingdom to hide and attempt to raise an army. 

Achan is accompanied by Vrell Sparrow, a boy who is a gifted healer. But unknown to Achan, Vrell is a young woman, fleeing an arranged marriage to the false king. Both Achan and Vrell possess the gift of bloodvoicing--the ability to speak to others through their mind. This ability saves both of them on many occasions, but having someone read her mind endangers Vrell's ability to keep her secret. 

Traveling through a dark land for most of a novel is no task for a light-weight writer. Williamson does a masterful job of engaging the senses--especially smells, sounds, and textures to create a mood. The setting is definitely a character here. But the characterization is even better. When a writer is unable to use facial expression in much of a story, the skillful use of tone and accent keeps the reader engaged without realizing what's missing.

Reading these books makes me want to write better. Add more action to my manuscript. Stay away from predictable plotting. Deepen my characters.

Have you read a novel that made you stop and pick up a pen?