How to Create a Novel That Your Readers Won't Want to Put Down

There are five essential things you as an author must do if you want to create a novel that your reader won't want to put down: 1) create empathy with the main character and their quest; 2) captivate the reader with your tone of voice 3) engage the reader's emotions 4) keep questions open and 5) build up suspense.

First, though, you must remember that only a proportion of all fiction readers actually want a novel they can't put down. Some readers like a novel that has a gentle pace that can indeed be put down, to fit in with their lifestyle, and can then be taken up some time later and the story picked up again without the reader having to go back and remind themselves who certain characters are and how they relate to each other. This in itself is a skill to be admired. But here we are talking about the kind of novel which has its audience hooked from page one, in such a way that engagement with the story is absolute.

1) Empathy with the main character and his or her quest - a reader's attention will be lost unless strong feelings are aroused about the chief protagonist and the central question of the novel. Of course this varies through different genres; and the reader of hard-boiled crime fiction probably won't talk in terms of "feelings" at all, but nevertheless there will be a powerful urge to continue reading, to care about what happens and to want to know the answers to the questions the author poses.

2) Captivate the reader with your tone of voice - a captivating tone of voice comes from the narration and from the main viewpoint character - there are many errors to be made here; if a reader feels patronised, fed too much information, or antagonised by the voice of the novel, nothing can more swiftly guarantee that they will give up on the story.

3) Engage the reader's emotions - the reason why a reader cannot put a novel down is also a great deal to do with the emotional stakes - do we fear for the main character; do we hope for them; how strongly do we care about the outcome?

4) Keep questions open - posing questions and structuring the supply of answers - within classic story structure there must be one central over-arching question which is kept open throughout the course of the novel; and when that question is answered, the story is over. But beneath that question many others must be set, belonging to the sub-plots; and when answers are provided to these subsidiary questions, they must lead to others,and so on.

5) Build up Suspense - this involves the careful selection of information, and critical decisions about what can be revealed to the reader, when; and what has to be withheld until later. A writer must exercise skill, fine judgement and instinct in this. Another essential aspect of suspense has to do with viewpoint - what does each character know? It is vital that an author keeps strong control of this - and it is an area where mistakes can easily be made.

A truly unputdownable novel can make life rather difficult for a reader - you must have that open novel in your hand on the bus or train, whilst you are cooking, late at night in bed, even walking along the street... but making this happen can be great fun for a writer, and experiencing it is one of the greatest joys of being a keen reader of fiction. All readers can find ways of coping with it within their lifestyle - I certainly can!

S.C.Skillman

S.C.Skillman is the author of "Mystical Circles"- a psychological thriller. "Intense psychological drama in a beautiful setting." You can buy the book on Amazon and through the Kindle Bookstore, or visit the author's website to find out more, and click the secure payment gateway to buy a signed copy at http://www.scskillman.co.uk/.

Does Theatre Help Us Look Beyond What We See?

Of course, we generally don't think of it while enjoying a drama, play or for that matter watching some TV programme.

It is quite natural to have mixed response over it as some would like to disagree whereas some others would strongly advocate for it. But a real yes comes only when we encounter a life turning experience with the post effect of a drama, play or some TV programme.

My turn to encounter such an experience came in July, 2003. It was one of my normal college days that brought many progressive changes in my thought process and the way of looking at society and things, helping me to question the unquestioned and look beyond what we simply see. Until then I never realized a simple street play could ever be so powerful. Yes, it was a street play.

Having come from a conservative background with stereotypes around, I always believed that dressing sense was one of the major facilitating factors for the rape cases, and therefore women were responsible for all that to a great extent. And that they should also limit their movement to avoid such incidents. However, the street play on the very theme itself shook all my beliefs and opinions that I held so strongly. The street play not only took me out of the grudges of surrounding stereotypes but in the course also prepared the ground for me to be a feminist.

With such magical effect of a street play, the idea of "Social awareness through theatre" strongly appealed to my heart and mind. My journey into a new world with a vision moved its first step when I was selected for the audition to be a part of the collage dramatics society "Anukriti". The first step paved the path and I started walking the road that I so strongly felt for, leaving my footprints behind. And today I don't look back but look beyond what I see as I stand as an active member of my international theatre group "Aatish".

The fields that required interaction with people and conveyed meaningful messages have always been of great interest to me. This may be one of the reasons that Dramatics, music and Social service are part of my hobbies.

During my association with the collage dramatics society, I got the opportunity to participate in various competitions in different institutions all over the country. Different plays carried different themes, highlighted socio-political realities besides raising critical questions on diverse range of issues. Therefore, in true sense, these plays gave me the scope and platform not only to reflect upon various predicaments of the society, but also to engage with ways to change them in the most progressive direction. After every successful play it was not the claps that brought happiness to me, but the thought that the post effect of it would again bring the meaningful turn into someone's life, just the way once it happened to me a few years back in 2006.

My brief stint into writing made me a writer by profession. Right now I am working in a marketing company for my living. However, theatre always lives within me even at my work.

Born and brought up in a small town in Assam known as Tezpur, my journey so far have been full of ups and downs as I have come across both demanding and compelling situations. However, my college days have been the most happening period of my life as I cultivated the vision and new meaning of life through my exposure to the world of theatre.

One of such great exposure with lifelong experience also came to me as a student of Delhi University. The pleasure of being a part of the "Aman Mela" always remains fresh in my memory. The "Aman Mela" was organized by PIPFPD (Pakistan India People's Forum For Peace and Democracy) under the Govt. of India in 19th -24th December, 2005 to support the cause of restarting the railway link between India and Pakistan to promote peace and mutual relation between the two countries. Representing our country, we as the students of 'Delhi University' presented a play. I consider being a part of that team as my lifetime achievement for my country.

For me right communication through a right medium is the best technique that one should possess and develop in order to feel him/her self as a part of the society and link with the outer world.

Fond of aroma as I stand by my name, love singing, dramatics, travelling and writing. My articles might not liked by people with the agenda of marketing and money, but am sure a person above this will like it... Thank you!

Fonzi's Jacket, Archie Bunker's Chair and Richer Expressions of Literary Cubism

I visited Washington, D.C. on a quest last week. I wanted to see Fonzi's jacket at the Smithsonian's American History Musuem. I failed. I never found the jacket.

Instead, I found: Archie Bunker's chair; Dorothy's ruby slippers (yes, the heels were clicked together); the original Muppets; and Catwoman's leather outfit. I moved along the National Mall under cloudy skies, sneakers crunching over the softly pebbled walkways, walking into the Natural History Museum where I saw the Hope Diamond and an array of other gems and minerals. I then made my way down to the National Gallery, paced the many halls and rooms to stand before the creative progeny of Rodin, Monet, Van Gogh and Picasso.

It was here at the National Gallery of Art, through the accident of freeform milling and through the failed quest to find Fonzi's jacket, that I discovered new perspectives on literary cubism. The small exhibit tucked into a small corner of the sprawling museum was titled "Text as Inspiration: Artists' Books and Literature." Intrigued, I entered the area and studied the fourteen artists' books on exhibit. The books were cubist in that their authors employed various modes of artistic expression to tell a story; the individual cubes of art became building blocks that converged into a thematic whole.

The form of literary cubism that I use in my writing is limited to various modes of written expression. I've used poems, letters, e-mails, government and legal memoranda, news articles and even automated spreadsheets as the cubes or building blocks of fiction. The books in this exhibit transcend the use of words as a sole means of expression. These books couple words with visual and tactile formats, giving the reader a synthesis of text, image and form.

Hmmmmm.

Have I unnecessarily and blindly shackled the expressive components of literary cubism in my practice of fiction writing?

Yes, I have.

One of the texts on exhibit was Sandra McPherson's book of poetry titled "Eve." In it, the author includes a thematically relevant papier-mâché sculpture of Adam's rib covered in a feminine black veil. The text of the book falls out of the sculpture in an accordion-like fashion.

Literary cubism is a potent and provocative technique for creating fiction. A richer and perhaps more expressive mode of this technique goes beyond the use of only words. Literary cubism gives full license to inclusion of visual and tactile formats.

Mohamed Mughal writes in the schools of literary cubism and absurdism.

Story Pace: The Speed That's Just Right

The pace at which you tell a story is a critical part of story telling. Knowing if you're moving too fast or too slow at any given time will help keep the flow of your story at its perfect speed. It's not always easy to know what that ideal pace is, but instinct mixed with your best judgment will help you figure it out one way or another.

Just like tempo in music, stories have their own form of tempo. If you change the tempo of the song, you can turn a fantastic work of art into an indistinguishable shrill. The same thing can happen in writing. If you don't follow the right pace, what might have been a masterpiece could read as much less. Pace is an element that no writer can afford to ignore.

Like most things in life though, saying its important is easy, but actually doing something once you know that isn't always as easy. It's not like you always sit down, begin writing, and the story hits the perfect pace right off. It isn't always recognizable, or obvious from the get go. It could be at any stage of your writing process that you suddenly grip the natural pace for that story.

Writing is a journey of self discovery, and many times you just have to follow your gut and go with the pace that feels right to you. As we write, we grow, and that experience allows us to write better. That includes finding and writing the correct pace. Depending on personal situations, you may have editors, and others working who can help you find the correct pace. If you're just starting out, this may not be something you've ever even considered. No matter what stage you're at in your writing life though, pace is an important element in what you do.

My advice to writers when it comes to pace is to keep it in mind. When you're reading lines, or writing them, make sure you give pace a thought during the process. It's important to remember to look at the project as a whole, and not just as individual paragraphs and sentences. If all those don't come together to establish the right pace, it may damage the flow. It is just another of the many factors that must be considered when writing. The story will be all the better for doing so.

I'm Benjamin C. Andrews, an author sharing my writing knowledge with others. Visit http://magicjarpublishing.blogspot.com/ for more writing tips and tricks, and other quality information.

On Writing a Novel for Publication - The Problem With Writing Material That Is Derogatory to Someone

Novelists sometimes have a great story on their hip that they're bursting to tell, but a character in the tale is fashioned around a real person with negative traits. So the question is, what's the best way to write about an unflattering characterization that happens to be true?

William Goldman Stated It Best

For anyone who might not be familiar with Mr. Goldman, he wrote BUTCH CASSIDY AND THE SUNDANCE KID, WHEN HARRY MET SALLY, and THE PRINCESS BRIDE, among many other works. He mentioned in one of his memoirs that he'd written something which wasn't necessarily unflattering about a man he'd known years earlier, but for whatever reason the person took umbrage.

Mr. Goldman suggested that no one write anything negative about someone--if the text might be identifiable with the person being written about--until that individual is dead! As strong as that might sound, I think it's great advice. And to take this one step further, the family of the person can also be offended, and if it could be proved that the material was a deliberate smear, there could be legal ramifications, especially if the party wasn't a public figure.

Even the Most Innocuous Implication Can Be Misconstrued

Who wants to gamble with the way someone's waffle might go down on a given day? I know a writer who had to print a retraction because he misstated a man's occupation from 30 years ago. And this wasn't as if the fellow was the president of a company and he classified him as a clerk. This offended party was a medical technician and the author wrote that he was a lab technician. Both professions at the time carried the identical pay grade, and each continues to be viewed as a prestigious position. Go figure, but the man was dismayed because he felt that the lab technician title was debasing.

More Serious Scenarios Can Occur

If all it amounted to was a retraction, most writers wouldn't be too concerned about what they wrote about anyone. But if a character can be readily identified as the one depicted in the story, and the person feels libeled, let the fireworks begin! If a writer is considering someone as a template for a character in a story, and this person for example was a notorious shoplifter as a young boy in Chicago, my suggestion is to make the character a middle-aged woman in Tuscaloosa who reads fortunes. Seriously, it's not worth the risk. Remember, if the person being written about knows the writer, this individual will be acutely aware of whom the author is modeling the character.

Wait Until the Person Is Deceased and Then Look Further

I touched on this earlier. Even after the person is dead, I'd take a hard look at the individual's family and assess how the negative material might affect them. Only after every hoop is jumped through, and all the questions fully satisfied, would I then venture onto this turf. And I'd constantly ask myself if it's worth besmirching this person's name or family to try to sell my novel--when an imaginary character, adequately removed from the real individual and lineage, would serve my purpose just as well. Please think about this, as leaning to the cautious side of this equation might save a lot of grief and money down the road.

Robert L. Bacon, Founder
The Perfect Write®

New Free Manuscript Service for Serious Writers! The Perfect Write® is now providing a Free Opening-Chapter Critique and Line Edit. Paste the first chapter of your manuscript (up to 5000 words) to theperfectwrite@aol.com (no attachments). In addition to the critique, The Perfect Write® will line edit, if applicable, up to the first three-pages of your double-spaced material also at no charge.

Also Free! Receive The Perfect Write® Newsletters that feature articles on writing at a publishable level. Click here http://www.theperfectwrite.com/ and scroll to the bottom of The Perfect Write® Home Page for the simple two-step sign-up box.

Simplify Your Life With a "Not To Do" List!

A good friend advised me one day that when life verges on "overwhelm," that the best course is to take one "whelm" at a time. In trying to be the best wife, mother, friend, and professional that I can be, life can get "lifey" and I am forced to sit down, center myself, and go back to basics.

For me, back to basics means back to my journal. Journal writing is where I can dig deep, and find ways to work smarter and be happier. For years, I have dutifully used lists in my journal to clarify my goals and prioritize my tasks. Depending on what is going on in my life at any one time, my infamous "to-do" list has ranged in length from several pages to a blissful half a page. Somehow the old 80/20 rule always prevails, and I usually get done what I "need" to get done - not necessarily all that I "want" to get done.

One of my favorite journal writing tools is my "Not to-do" list. With this list, I can include line items such as "I will not overspend my clothing budget," or "I will not take on that new client that my gut tells me to stay away from," or "I will not eat that gorgeous piece of cheesecake." With topics ranging from physical health to cooking to work to gardening to family, the not to-do list can reach every corner of your life!

What can a "not to-do" list do for you?
A not to-do list can actually help shape down your to-do list. Tasks on your to-do list that seemed vital can be modified, enhanced or even deleted with this new perspective.Empowerment. Once we put an idea or oath in writing, it seems to take on deeper significance. I end up feeling more confident, creative and accomplished - with more energy for the important tasks in my life.When comparing your "to-do" list and your "not to-do" list, invariably there are tasks/projects that fall in between - those items that never seem to get done. Comparing these two lists helps pinpoint those items that you are procrastinating on. Once you see in black and white what has consistently been left undone, you are better able to understand why those tasks remain. After this exercise, I usually find myself more equipped in finding new solutions to the tasks that I am avoiding.Not to-do lists free you from unnecessary ritual tasks. For years, I felt that I had to set aside precious time to make holiday cookies. When I put that task on my not to-do list one year, the world didn't stop. And, the following year, when I really felt like baking, I carved out the time to try new recipes - much to the delight of my family.Not to-do lists keep you centered in the present. When you free yourself from your to-do list and consciously choose not to engage in other tasks, you tend to value and focus your time on those projects that are meaningful. Your productivity soars and your contentment follows.

Try starting a "Not To Do" list in your journal today!

Debi Wacker is a Journal Coach and co-owner of Write to Health http://www.writetohealth.com/, a creative writing adventure dedicated to helping people discover the healing benefits of journal writing. Write to Health's journal circles explore and celebrate health through writing about spirituality, addiction recovery, cancer survivorship, life transition, grief process and life legacy. Write to Health's online journal writing courses teach a variety of techniques including letter writing, clustering and lists. Inspirational blank journals and guided meditations complement the writing programs and help clients begin a writing practice in the comfort of their own homes. Debi is also co-author and publisher of The Sacred Purse, a collaborative book of women's poetry and essays, and continues work on her first novel. She is president of LightSource Marketing, a marketing and business development consulting firm with offices in Virginia Beach and Washington D.C. Debi specializes in strategic and market planning, program design and development, and copywriting. Debi recently returned to the college campus as a part-time professor. Reach her at debi@writetohealth.com.

Research and Fiction - How to Research When Something Doesn't Exist

My first thought upon answering this question is, that it does exist - in the writer's imagination. And therefore, it is to the writer's own experience, own memories, own observations and wisdom that we look, to conduct our research. But my second thought is this: when, as a creative writer, you are writing about something that doesn't exist, what is the most desired outcome? It is this: that your reader must - while he is reading your book - believe in it. During the process of engaging with your story, your reader must feel, react, respond, exactly as if this thing does exist. So how do we achieve that?

We make use of a device with a well-established name: "the willing suspension of disbelief". It's what happens when we are absorbed in a Doctor Who story, or a tale of Arthur and Merlin. It happens to all those who read and love "The Lord of the Rings" or the Narnia stories... and of course all successful novels in the fantasy and science fiction genre. As we read, we believe. That's not because we actually think Middle Earth is real, or it is indeed possible to walk through a wardrobe of fur coats into a snow-laden forest. It's because - in view of the powerful story-telling - we willingly suspend our disbelief.

The magic the author uses to achieve this may be found, essentially, in psychological reality. And that may be expressed through truthful characterisation, and classic story structure. Both of these are so important precisely because they correspond to psychological realities in the lives of all of us; and so we recognise them. These are the archetypes that Carl Jung referred to. They may also be identified as "the tropes" of any particular genre; in other words, the expectations that readers have of this genre, whether or not they are consciously aware of them: the hero, ally, trickster, mentor, wise fool, common man,maze,death-trap,moral trap,hazardous journey,riddle, inmost cave,trophy of conquest.

Such is our faith in classic story structure, that we will believe the story-teller on the basis of it. When we as readers see it is there, we can let our guard down, we can enter into whatever the story-teller has for us, and we can say, "I believe the promises this author makes. I want to know the answers to the question she poses; and I believe she will provide satisfying answers which will reward all the time I spend reading this story."

SC Skillman

S.C. Skillman is the author of "Mystical Circles - a psychological thriller". Here you will find mysterious behaviour, events that keep you guessing, and people playing at cross purposes - "intense psychological drama in a beautiful setting". Buy the book on Amazon or download it on your Kindle. You can also visit the author's website to find out more. Click the secure payment gateway to buy a signed copy at http://www.scskillman.co.uk/.

The Art of Writing Articles

Writing is really a gift. A natural talent is a real boon for the writer. But writing can be learnt and cultivated. Practicing makes one a better writer over a period of time. A decent command over the language in which one is writing, a flair for words and phrases, a good grasp of the subject on which the article is composed and a direct, simple approach, are a few basic requirements to become a tolerably good writer of articles.

Subject/Topic

The most difficult and crucial component of article writing is choosing the subject wisely. The subject must be interesting, of current interest and yet simple. Subjects relating to complex political and legal issues are better avoided.

Style

Choose your style of writing carefully. Simple, elegant and straight-forward writing is the best. Never use complex sentences and pompous language. Short sentences and precise paragraphs would color to your writing. One should be precise and succinct in writing. The trick is to put oneself in the shoes of the reader and think like a reader.

Introduction

The introduction should cover all the aspects of the subject/topic and make the reader want to continue reading the entire article. The introduction should be brief and yet capture the spirit of the article. Even the busiest reader must be aroused to read on. Crisp and imaginative introduction would stir even the most disinterested visitor to read the article in full.

Elaboration

This is the main body of the article. This should be divided into a suitably short paragraphs based on the points the writer is making. The writer can devote time to the history, the present status and the future course of the subject and divide each part of the subject in to different sub-headings. The point is that the article must be packaged to look and feel attractive and interesting even to the most casual reader.

Conclusion

Once the writer has made sure that he has covered all the relevant points in the body of the article, he can go about concluding the article. Conclusion must subtly draw the attention of the reader to the point of view of the writer without being obvious about it. With consummate skills the writer must draw the reader to the writer's viewpoint. Conclusion must not be too lengthy.

Credits

This is where the writer must acknowledge the sources on the subject that the writer relied on for composing the article.

Plastic Reality

Sublime thoughts of a perfect life now just seemed like distant myth. He had begun regretting for not have chosen a life of a drifter. The tree that he had called his home was coming to the end of its cycle and now resembled a withered old man with not enough strength to even carry a leaf. Fatigue had grown on him from scraping the dead wood and fungus which had accumulated through time but there was only one thought which made him think a multiple times before walking away.

An unsuspecting traveler wouldn't have given a second thought about this orange tree just considering it to be another piece of nature's picturesque creation. But for him it was different. There was a history attached to this tree which was holding him back. A history of a boy and a girl who had found a meaning to true happiness under the shades of this same tree. A happiness they had comforted with just mere luxuries of a shed, a lake behind the tree and the fruits the tree bore. A happiness they had always compared to the enriching flavor of those juicy fruits. It was them who planted the first seed together hoping with uncertainty of what would become of something so tiny. It grew and grew while they relished around it, enjoying the fruits of their labor. Their days were spent involving themselves in foolhardy arguments and silly mud fights. By sunset they would sit on the lakeside and bet each other on who could spit out the orange seeds the farthest. But happiness is always momentary, and there came a time when the girl had to leave. Promises were made but they both knew times would change and circumstances were never stable.

Forever an enemy of death, he formulates a plan. He plants a new seed just next to the dead orange tree and waits for it to grow. Over time he watches over the plant with all the gentleness he could muster, holding patience for one single hope. When the day came and the tree stood high, he picks the fruits, packs them in a bag and sets off to a nearby village. He sells the fruits to a commission agent and gets a reasonable price for the sale. He leaves the village with a smile and the path set clear, dreaming about the chain of events to come in the near future. He begins his journey for a new life, a new goal to find his new home. No, it doesn't end here.

The commission agent ships the oranges to a wholesaler located miles away which then gets sold to a vendor who is happy with the quality of the fruits. The following day, a mysterious girl clad in colors of black, forest greens and deep red shops for the oranges and takes them home. She unties the veil covering her face and neatly arranges the oranges on a dish. She slices them in sharp figures and takes a deep filling bite. While she is munching on the oranges she feels something pricking her teeth. She reaches out and picks a seed. And she smiles.

"To revel in the wonders of life, to think, to remember, to dream - this is to know happiness." Giancarlo Di Gratsi

"Enjoy the little things in life, for one day you may look back and realize they were the big things." Robert Brault

"Happiness is only real when Shared." Jon Krakauer

So Start Your Book Already, and Write Like the Wind

People love to buy books that show them how to live a better life. Your experiences are unique. You have been tested and have gone through the trial by fire. You are now prepared to write your book and teach others how to find security and satisfaction, just as you were able to. And, as you help others, you create a new income stream for yourself.

Share Your Unique Experience With Others

You have something to say that no one else can say because your experience is unique. Your experience, and your book, can be a valuable example for others, something that they can learn from and perhaps copy and build on to improve their own lives.

You may think, "There are already a lot of books written on my topic, so there's not much more to say." The same could be said of love songs, but people keep writing them, and hopefully always will.

Yes, there are many books written, but I think the world would benefit from one by you. You can bring your authentic experience to the table, an experience that is unique and that connects with other people.

Your Book Meets a Need in Your Own Life

When you write a book, you not help others by sharing the lessons that life has taught you, but you also fill a need in your own life.

Writing your experiences and opinions on paper forces you to focus on what you have accomplished and learned. To put ideas into words on a page requires a thoughtful analysis of what you have done. This analysis deepens the experience for you and when written down, immortalizes the experience. Now it is forever etched in your mind and on the published page.

Writing a book is not for the faint of heart, but you will regret the time that you spend doing it. Writing a book requires such a great effort, to organize your thoughts, to edit & re-write, and to go through periods of doubt and mental stress. But by the time you finally finish, you feel a wave of relief and accomplishment wash over you. You have created something remarkable. And that feeling never really goes away.

Meet Your Two New Best Friends

I encourage you to buy two things to get started:

1.) a new spiral bound notebook, and

2.) a new pen.

These are your new "special" friends. Use them only for recording information about your book. Take them with you everywhere you go. I take my notebook to doctor's appointments, to lunch, to kids sporting events, to church, and it sits close to me when I am sleeping. Write down everything that comes to mind about your book.

Before you know it, ideas will start popping into your mind like popcorn in a microwave oven. You'll read something in a magazine, or hear someone say something in conversation, or see something in a movie, that will spark ideas or quotes for you to note in your special notebook.

Let the Journey Begin

There are few things more rewarding than writing and publishing a book.

Mark Twain said, "Really great people make you feel that you can be great too."

When you write a book, you tell your readers, "I was successful in doing this, and you can do it too."

Don't keep that book simmering inside of you. Let it out, where it belongs. Many people will have their lives enriched by the experiences that you share. You may change their world, and your own.

Terry Sprouse is author of the new book "Carve Out Your Niche: How to Live Your Passion, Write Your Book, & Help Others Change Their World;" and, the award winning "Fix em Up, Rent em Out."

Visit Terry's blog at http://www.carveoutyourniche.com/ to download a free chapter from his new book!

Improving Your Work: A Book Author's Ongoing Challenge

After decades of writing I have an established style, yet try to improve my work. My options include writing courses, conferences, day-long workshops, and joining a writers' group. Some options are more appealing than others. I'm not interested in taking more courses, for example, or joining a writer's group because I've done these things before.

You may be trying to improve your work. The options available to you may depend on where you live and the training you already have. Cost also influences your options.

Aaron Potts, in a Today is That Day website article, "Self Improvement Plan: Write it Down -- and Read It," thinks written goals are powerful success tip. This tip has many advantages, according to Potts. First, writing down your goals forces you to be specific. Written goals may serve as a daily reminder. Seeing your goals in print or handwriting makes them real. Finally, written goals may be used to reposition yourself for success.

"Write down your goals in the form of a document, not a list!" Potts advises. I made that document and my goals include adding long sentences to break up short prose, learning new vocabulary words, and focusing on summary paragraphs at the end of chapters.

The Writerly Life blog posted an article that grabbed my attention instantly, "Why That Writing Improvement Book Won't Help You." According to the author, who lists his or her initials as BLH, these books are often vague and advice like "find your center" isn't helpful. Often these books encourage "homogenous writing," the author continues, and that doesn't help either. Finally, the author says these books tend to be more about marketing than writing.

The article pertains to fuction writing and, though I write nonfiction, I found it helpful. Besides, I already own books about writing and don't want to spend money on more.

The Janel's Jumble blog addresses writing skills in a post titled, "Writing Improvement Tools." The author of the post jots down a story idea each day. These notes include scenes, character sketches, beginning and ending sentences. Each week Janel writes a story from a prompt. "I tend to think EVERY story I write could eventually be published," she declares. Her final tip is to read in an unfamiliar genre, something I do and enjoy.

To improve my writing I take a break and read poetry or mysteries. Robert Frost's poems always inspire me and I note his word choices and descriptive language. For a change of pace I've read books about marketing and economics. While I'm interested in marketing, economics can be a turn-off.

In the end, I've found writing is what improves an author's work. So I keep practicing and practicing. Waiting a month and then reading my manuscript again is one of the most helpful things I do. Do you want to improve your writing? Consider your options, pick the best, and pursue them. Most of all, keep writing!

Copyright 2011 by Harriet Hodgson

http://www.harriethodgson.com/

Harriet Hodgson has been an independent journalist for 35+ years. Her 24th book, "Smiling Through Your Tears: Anticipating Grief," written with Lois Krahn, MD, is available from Amazon. Centering Corporation published her 26th book, "Writing to Recover: The Journey from Loss and Grief to a New Life," a companion journal, "The Spiritual Woman: Quotes to Refresh and Sustain Your Soul," and "Happy Again! Your New and Meaningful Life After Loss."

Hodgson has two other new books out, "101 Affirmations to Ease Your Grief Journey," and "Real Meals on 18 Wheels: A Guide for Healthy Living on the Highway," Kathryn Clements, RD, co-author. Both books are available from Amazon. Please visit Harriet's website and learn more about this busy author and grandmother.

Beefing Up Your Closing Paragraphs: Some Tips for Authors

Whether you're writing an essay, article, book proposal, fiction book, non-fiction book, or business letter, you need to know how to write a closing paragraph. Short as they may be, closing paragraphs are often tricky to write. You have to strike a balance between saying too little and saying too much. Finding the right tone is also a challenge.

In my recent books I've tried to do a better job of writing closing paragraphs. These paragraphs have similarities, yet they differ according to the topic of the book. I want the closing paragraph of each chapter to amplify the topic, touch the reader, and generate interest in the next chapter.

A concluding paragraph or summary isn't the place to bring up new ideas, that's for sure. Even for long-term writers like me, closing paragraphs can be a challenge. "Wrestling with Closing Paragraphs," an article on the English for Students website, offers suggestions for closing essay paragraphs. "Experienced writers occasionally have trouble tying up the threads of arguments and bringing their ideas to conclusion without lapsing into cliches and obvious comments," the article notes.

One problem is that you have too many options. According to the article, "Writing a Good Conclusion Paragraph," posted on the Time 4 Writing website, your options include stating what you want the reader to remember, "wrapping up," showing you accomplished what you set out to do, proving your thesis, and providing closure. You may also "propose a course of action, a solution to an issue, or questions for further study," the article explains.

The Write Place at St. Cloud State University in Minnesota has posted a Leo (Literacy Education Online) article, "Strategies for Writing a Conclusion." According to the article, your paragraph should answer the question, So what?" Avoid repeating information, the article advises. The tip that grabbed me: "Create new meaning." This is a great tip, but how do you do it?

From my perspective as a health and wellness writer, creating new meaning requires hours of thought. Recently I finished a book about finding happiness after loss and grief. It's a concise resource, a quick read for those who are mourning. While I was writing the book I was never at a loss for words. In fact, I could barely keep up with the ideas that flowed from my mind. Then I reached the end of the book and got stuck on the last paragraph.

I revised the paragraph several times. I wrote a new version of it. I meditated about the paragraph and dreamed about it one night. My goal was to leave the reader with a sense of hope and the last sentence had to be just right. Finally, the words came to me:

"Happiness is a personal choice, a gift we give to ourselves. Each morning we have a chance to give ourselves this gift again. I hope you choose happiness for yourself, your family, your friends, and generations to come. Life is a miracle. Today is a new day -- your day -- and you can make it what you want. Your miracle is waiting."

This paragraph meets my writing goals. First, it matches the tone of the book. Second, it repeats the point that happiness is a choice. Third, it uses simple words. Fourth, it includes a call to action. The words "make it what you want" are that call. Have you been struggling with endings? Paying special attention to closing paragraphs can improve your writing. You'll find a bevy of helpful articles on the Internet. Like me, you may find that time and meditation lead to the words you are seeking.

Copyright 2011 by Harriet Hodgson

http://www.harriethodgson.com/

Harriet Hodgson has been an independent journalist for 35+ years. Her 26th book, "Smiling Through Your Tears: Anticipating Grief," written wth Lois Krahn, MD, is available on Amazon. Centering Corporation published her 28th book, "Writing to Recover: The Journey from Loss and Grief to a New Life," a companion journal, "The Spiritual Woman: Quotes to Refresh and Sustain Your Soul, and her latest book, "Happy Againi! Your New and Meaningful Life After Loss." Hodgson has two other new books out, "101 Affirmations to Ease Your Grief Journey" and "Real Meals on 18 Wheels: A Guide for Healthy Livnig on the Highway," Kathryn Clements, RD, co-author. Both books are available from Amazon. Please visit Harriet's website and learn more about this busy author and grandmother.

Become a Novelist

Most struggling to become a novelist have their set of novel writing superstitions and idiosyncrasies. While some of them may appear to be sensible, most are entertaining. Reading about the eccentricities of novelists can virtually provide enough material to write a novel.

Imagine a writer who discovered that one out of every 8 letters is an 'e' and wrote a novel consisting of 50,000 words with none of them having the letter 'e'. Ernest Vincent achieved this rare feat of constrained writing through his novel 'Gadsby'. If you would like to understand the difficulty involved in this, just try writing a sentence in past tense without using the suffix 'ed' and you will know. You will find several such novelists who are great characters themselves.

However, eccentricity is not mandatory for everyone who wants to become a novelist. Such characteristics are merely the consequences of genius and not the cause. The basic requirement for writing a novel is to have a keen eye for interesting plots and events. In addition, writing a novel requires that you have the ability to view things from a very different perspective. You may also want to use interesting facts to support seemingly-impossible ideas. Once you have a strong idea for writing a novel, all you need is to build a structured plot around it and support it with credible yet interesting characters.

The moment you start to develop a plot around the basic idea, you will realize the importance of the craft of novel writing. Anyone who intends to become a novelist needs to know how to use words in order to convey their idea in an unambiguous manner. This requires the writer to have extensive knowledge of grammar and a very good vocabulary. Shakespeare himself had to invent several words such as boredom, hurry, on purpose and shooting star for the lack of better words to express his thoughts. However, our current vocabulary, with the addition of new words every day, is vast enough to suffice for the needs of your novel.

No matter how trivial it sounds, choosing a suitable title is an important aspect of writing a novel. While it may seem like one of the more trivial matters, many novelists have spent years writing the novel to have poor sales because of a poor title. Marketing is key and a good title helps to sell a novel. Salman Rushdie confessed that he spent several sleepless nights before he could choose the right title for his novel. His choices were: Midnight's Children or Children of Midnight. Thus, anyone who would like to become a novelist must know every aspect of the craft of writing in order to write a good, popular novel.

Finally, know and understand the likes, dislikes and limitations of your target audience. While it is acceptable to state your opinions in your novel, it could be suicidal to try to force your opinions down the reader's throat. Likewise, excessive use of complex sentences and unnecessary jargon can put off your audience and make your novel unpopular. So, to become a novelist, you need to know the art of creating a perfect blend of these novel writing aspects with the help of experience and expertise.

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How To Write Children's Stories

Wondering how to write children's stories? This niche is an exciting one and it can even be a lot of fun. Even if you have experience in other types of writing, writing stories for young readers is very different. Children often have short attention spans, meaning you have to quickly engage them and then continue to work to keep their attention through your story. It's not as easy as you may think. To help you out, here are some secrets that make a difference when you're writing for children.

Secret #1 - Remember Your Own Childhood

If you want to know how to write children's stories, one of the first secrets to keep in mind is to remember your own childhood. If you don't remember what it was like to think and feel like a child, you'll find it difficult to communicate to children with your stories. Take time to connect to your childhood. Think about the memories; remember the feelings you felt and the pleasures that you enjoyed. The more you can connect to that inner child, the easier it will be to write stories that will grab the attention of children.

Secret #2 - Read Children's Stories

Another secret that can make a big difference if you want to write for children is to spend some time reading children's stories. This is especially important if you have never written in this genre before. Reading these stories will help you to learn how these books are crafted. You'll get to know more about your audience - children. This can even help you to further connect to your inner child.

Secret #3 - Have a Way to Write Down Ideas or Images

Some of the best ideas or images can come to you when you are nowhere near your computer. This means that you need to have a way that you can write down any ideas or images that come to mind. If you want to learn how to write children's stories, it's important that you make the most of all your ideas. Get in the habit for writing everything down. Have a system for keeping these images and ideas organized as well. This way you can incorporate them into your writing.

Secret #4 - Consider Taking a Writing Workshop

Attending conferences for writers of children's books is another great idea. There are also writing workshops for writers interested in writing children's books. If you don't already have experience in this genre of writing, you may want to consider taking a writing workshop. This will give you a great way to learn more about this type of writing from some of the best in the business.

Secret #5 - Invest in a Suitable Writing Course

There are many courses available that cover this topic. Go for a really in depth and comprehensive course to make sure that everything you need to learn is covered in the written material. A really informative course means that nothing is missed out and your chances of success will be greater.

Using these secrets can aid you in being successful, but there is more to learn. Make use of these great tips and ideas and be ready to do more research on this field of writing so you have all the information you need to become successful at writing books for children.

Following the right advice and information means you will know how to write children's stories and become one of the established authors too.

Want to know more about how to write children's stories?

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How to Write a Novel - Step One: Determining Your Motivations

Why would anyone write a novel? It is a long and arduous process to create a piece of quality work. It could easily take a year or more of agonizing over your keyboard to get all of the characters, plotlines, and descriptions just right. You will need to find people who will proofread drafts of your writing and give you honest and constructive feedback. In addition, you never know what will happen to the finished product. Most, if not all, writers want to see their novel get published, but there is no guarantee that will happen. The current outlook in the publishing industry is rocky, and the writers able to find an agent who will represent their work and see it through publication and into the hands of readers must have a combination of skill, talent, perseverance, faith, and luck. Most amateur writers simply watch their novel languish in obscurity never to reach the mass audience of their hopes and dreams.

Given all these challenges and discouraging factors, you would think that very few people would actually buckle down and write their first novel, but they do, every year by the thousands and the hundreds of thousands. It's remarkable, really, when you think about it, and you've decided that you're going to join them. You have a story to tell that's been floating around in your head, and you're finally going to take that next, big step. You're going to sit down and write your first novel. But how do you do it? How do you write a compelling, original, well-crafted novel that people are going to want to read?

There is no, single, correct answer to that question, since there is no, single, correct way to go about writing a novel. There are as many different ways as there are different writers. To help the would-be novelist, though, I have developed an eight-step plan that anyone can follow in order write a successful first novel. The process is too lengthy to cover in one article, so this will be the first in a series of articles that addresses this topic fully. Once that series of articles is ended, subsequent articles will help you navigate the tricky maze that is finding an agent and getting your novel published. This article will discuss the first step in writing your novel.

Step one is to determine your motivations for writing your book. This is important because it will help you determine how to write it as well as what to do with it once you have it written. You might be writing this novel just for the fun of it or just to be able to say that you did it. You may have a story inside you that you have to get out. You might want to touch people and move them with the power of characters, your themes, and your ideas. You might have come up with an original premise and have visions of becoming the next J.K. Rowling. This may be the culmination of something that you've been dreaming or planning on doing for many years. There are endless possible reasons, and a person could have a number of these reasons combined, but it is important that you get very clear right now on what your motivation or motivations are and even write them down. This will influence and affect every step of the way that follows. Once you've done this, you'll be ready to read the next article and move onto step two: Determining your writing style, routines, and best practices.

I have been writing for the past twenty years, and I had always dreamed of one day writing a novel and having it see print. My debut novel, A Far Cry, will be released in February of 2012. It is a young adult action/adventure story and the first novel in a projected series of three novels. I am currently writing a series of articles to help aspiring authors write their first novel and attempt to get an agent and get it published.

What's Creative Writing? Tips for New Writers

Creative writing starts with passion. Therefore, if you want to be a creative writer, the first thing to do is identify your passion. Then write out of your passion. But how? - is what you have to say best suited to poetry, short story, non-fiction article or novel? Your next step is to ask yourself what you love to read. Whatever it is - that's what you could start to write.

Let's say you want to start writing a novel. Think of a phrase that's the perfect title for a book. That could be your starting point. And so now you are on a new threshold.

We can learn a lot from our ancestors. For instance, if you visit the Museum of London's prehistoric galleries, you'll find that Bronze Age people would build their roundhouses with the entrance facing the midwinter solstice. They would then consult their ancestors before making an offering to the new threshold. Now, perhaps modern builders have a comparable ritual - I don't know. But if they don't - perhaps they should. And so should those embarking on a long-term building project like a novel. I love the idea of "making an offering to a new threshold." And what I have to say here is like an offering to the new threshold.

First, where do your ideas come from? From life itself, all around you, wherever you are. Ideas fly past, and you catch them. Listen to conversations in every situation. Observe people. Eavesdrop whilst sitting on the top deck of a bus. Have notebooks with you at all times - and keep notes. And if you have a notebook system, you have to build in time to review your notebooks and retrieve your ideas.

Then you have to apply the first secret of writing:

1. Avoid Not Writing - take your craft seriously; believe that what you're doing is of sufficient value that you are going to carve out time for it. Book time for it if necessary - put it in your diary. Get in there and do it. Don't be afraid of the blank screen or blank page.

2. Pay attention to structure - break down the book in your head into an Outline. You could do it on a piece of software like Scrivener, or you could do it through a wall of Post It Notes, or you could plot it on a storyboard; or you could write your novel as a short story first. But realise that you are unique and may have your own special way of working that is right for you. With a novel, sometimes writers find they can't plot too far ahead (though be aware you may have to go back and impose structure later). If that is the case for you -

3. Go on the journey and see what happens. If a character develops a life of his or her own it's a good sign. Some say the characters create the plot. Keep asking why, what, where, how, when.

4. Set yourself a goal of a thousand words per working day, if you respond well to deadlines and schedules. If not write anyway.

5. Don't talk your novel out of existence. Write that first draft. I believe it's not a good idea to discuss the details of your novel with anyone until you've written it. Then you can seek feedback, and redraft, and revise and revise and revise.

Finally, when your book is finished to the very best of your ability and beyond, send it off to literary agents. And be prepared for rejection. Remember - you write because you are compelled to, because you cannot "not write". Take note of these wise words from popular author Adrian Plass: "If things fall apart, pick up the pieces and carry on. Don't despair. There are strange things going on behind the scenes."

S.C. Skillman is the author of exciting new psychological thriller novel "Mystical Circles". The word "mystical" in the title is used ironically to mean "mysterious behaviour, events that keep you guessing, and people playing at cross purposes". Reviewers have enjoyed Skillman's "exploration of a community of complex characters who inhabit an eerie and atmospheric retreat" and have found it "a very entertaining read with plenty of action and sparky dialogue." If you are interested in people and their foibles you will enjoy this book. You can buy the novel on Amazon and through the Kindle Bookstore or visit the author's website to find out more. Click the secure payment gateway to buy a signed copy at http://www.scskillman.co.uk/.

On Writing Well - The Reason POV Matters to a Narrative

I normally don't get too concerned when people discuss the vagaries of what it requires to write well, regardless of how off-base I think some of the comments might be as they pertain to a particular subject. But I'm motivated to get involved when an element of writing is discussed with fervor and a decided bias, yet with a blatant lack of understanding for the topic. A recent harsh treatment of Point-of-View is what motivated me to write this article.

Why Can't POV Be Written in Any Way One Sees Fit to Write It?

Last year I was taken to task by a writer who'd written a piece he'd submitted for "approval" via a writer's blog. I don't generally respond to this sort of thing, but as I read his material, I noticed distinct POV shifts via four characters in what was a short opening chapter of 500 or so words. I wrote this fellow that his writing was fine, except for the POV issues. I was sent a brisk note that since "he" was the creator of the material, he could write the Point-of-View any way he wanted. After all, he told me, "he" wrote it, and in who else's Point-of-View could it be written?

It Would Be Funny if It Wasn't So Serious

I laughed off his callow remark, tried to explain what Point-of-View entailed, even providing some resource material to support its importance, then quickly moved on after I found I was stoking rather than extinguishing a fire. I thought little more about POV's misconception until I noticed one of my articles on the subject posted on a web site for writers. Several people were kind enough to state that my explanation of POV was indeed better than the original one that fostered the blog's thread, but then each contributor tried to diminish the validity of POV.

This rankled me, especially when the moderator of the blog went on to support my contentions, yet was just as quick to offer that POV shifts really don't matter much one way or the other. She admitted, however, that she also had difficulty at times with POV. This should've told readers the value of her opinions on this subject, but the coup de grace was when she closed her post by stating that POV was important only to agents, editors, and publishers--but not to readers.

It Isn't True That POV Matters Only to Agents, Editors, and Publishers

If I'd ever read a position that justifies why amateur writers accepting advice from other amateur writers is a road map to disaster, that was it. Agents, editors, and publishers are not an exclusive club infatuated with POV shifts and the issues they create. If POV shifts are done incorrectly, they will stop the reader! This is what matters, not the contention of any professional who works in the industry.

If the reader doesn't know who is speaking, often the scene will need to be read again. If this occurs repeatedly in a story, it can cause a book to be set down for good. Even an occasional POV shift can destroy the flow of a narrative. I've cited this before, but Saul Bellow let a couple of unnerving POV slips occur in THE VICTIM. And while this proves that even the best writers can err in applying this element uniformly, a mistake by an iconic writer hardly justifies POV-shift acceptance.

Anything That Jars the Reader Is Not Good

Not a brilliant statement by any means, but this is what the POV issue is all about. Some writers can shift POV effortlessly, and to paraphrase what the famous writer E. M. Forster said, if it's effected seamlessly it doesn't matter at all. But when the reader notices the shift, then there is a problem.

When Is It Easiest to Shift POV?

Complete scene breaks and of course new chapters will lend themselves to POV shifts. I've also found that high-tension scenes are at times forgiving if handled deftly (this might seem an odd example to cite, but for whatever reason I've found it valid). Some people write in an omniscient voice via third person and assume this always works. Unfortunately, it doesn't if the speaker is not clearly identified. So while omniscient third person enables wide latitude, it doesn't mean there aren't requirements.

No Final Word on POV Exists

Debate will always rage over POV. The best response I can provide follows closely with what I stated earlier, and this is to write whatever the reader finds acceptable. If a POV shift doesn't stop the flow of the narrative for the reader, it can be assumed the task was handled in a masterful fashion. The time to find out if a POV shift was successful, however, is not after the reader has put down the book because of becoming frustrated with it. This is the crux of the entire subject.

Robert L. Bacon, Founder
The Perfect Write®

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To Write Excellent Children's Stories, Your Characters Must Evolve

Perhaps the act of forgiveness, true forgiveness, is the ultimate example of taking a second look. In this process three critical participants in the story evolve:

1. The character taking the second look evolves by opening his mind to another and to greater depths of the person "looked at"

2. The character being looked at also changes in the minds of the reader/observer as a newer deeper component of them is revealed to us

3. The reader evolves as he experiences these revelations along with the characters. Indeed the reader may well be brought along for this second look just like a character in your story.

Characters can "evolve" simply by revealing aspects of themselves that we may not at first be allowed to see. Although perhaps not a true evolution because the part revealed to us was there all along, the effect on the reader is much the same.

For example, in Katherine Patterson's wonderful Bridge to Tarabithia (a truly remarkable children's book that takes chance and delivers powerfully), I am particularly drawn to the character of the father. At first blush, he seems a somewhat heartless and unfeeling character - maybe even one of the "monsters" of Taribithia. Yet, when we see him respond to the tragedy of the death of Leslie and comfort his son Jess, a new side of him is revealed. We are treated to a similar wonderful revelation from Jess's teacher Mrs. Meyers.

After these revelations of true depth, tenderness, and feeling, we cannot think of these characters the same way again. Revealing a deeper side of a character who, it turns out, is not quite the character we first expected, can be one of the most powerful aspects of writing. It can only happen a few times in a given story, but if you reflect on various stories you have enjoyed, you will find that many of them have such eye-opening moments. Here are a few across genres:

-Literature. Ebenezer Scrooge awakening on Christmas morning a changed man.
-Film. Captain Von Trapp, whose heart is softened by the "sound of music."
-Pop Song. Leader of the Pack. "They told me he was bad, but I knew that he was sad."

I personally cannot write without character evolution, and my writing seems empty without it.

In my first published book, which was about stranger danger, a child learned that we could not judge people by appearances. In my second, a young dinosaur learned not to, quite literally, judge another triceratops by its stripes. In my third book, young Tommy and his friends open themselves up to possibilities both around them and within them that "older and wiser" minds may have shut out.

There might be some who would say that a children's story should be simple with stock predictable characters. I think this sells our (child) reader short. By the time a child can read, she has already come to understand learning, change, the complexities of friendship and relationships, the many components of friends (and certainly parents and siblings!). Give them characters that grow and evolve. They deserve them. They will understand them, and perhaps even grow with them.

Rick Alimonti is nationally and internationally recognized as an expert it Aviation Law, and his law firm has clients throughout the US and Europe. He has always loved airplanes and aviation and became a private pilot in 1994. He has a passion for teaching and promoting legal ethics and speaks and published several times a year on legal ethics.

Rick's children's books focus on character growth and understanding. It could be said that his characters evolve and learn to see the possibilities within themselves and others. In Tommy and the T-Tops, a picture book for children published in 2009, a young dinosaur learns that the striped triceratops from distant heard can teach quite a lot to his green-colored herd. In the Fix-It Shop, Tommy Jameson and other characters come to accept that life has possibilities beyond the ordinary. Tommy, in particular, learns of the strength and magic that was with him all along - even if he never escapes the confines of his wheelchair.
For more Information go to: http://www.alimontibooks.com/

Blindness Is In The Eye Of The Beholder

"Beauty" is in the eye of the beholder - this saying is hard to dispute, most everyone agrees, and I'll go it a step further and say "blindness" is in the eye of the beholder. All too often we view others and our surroundings with a blind eye. We have preconceived ideas about people and things making it difficult to lay our assumptions aside to look at matters in a different light. Don't be blind to possibilities.

It is most probable that the inner makeup of your characters has greater depth and complexity than you realize or give them credit for. The particulars you take in at first glance or the filter through which you view people you know intimately is riddled with blind spots. To write well, look at everyone you include in your stories as individuals unto themselves. Get into the heart of whom they are, without painting them into a box you thought fitting. Take off the blinders and look at the potential to incorporate a wider, more robust view of your characters while writing memoir.

When you search for the inner framework of characters (for example, when writing about your mother, it will be mom's essential spirit you're out to discover), you can perceive their character in your mind's eye, you can sense them, but most importantly, you can decide to let go your well-formed assumptions about them and let full, undistorted sight take over from a new, more inclusive vantage point.

To heighten understanding through action, take some time at this very moment to complete the short writing lesson I've outlined below. In this exercise you will tap into your memory bank and find a highly impactful incident in which the personal interaction you exchanged with someone is palpable. This is a practice designed to get you working your way out of "not seeing"-remember blindness is truly in the eye of the beholder.

1) Bring the impactful incident into focus and write several paragraphs describing the emotional details of this incident as seen through your mind's eye-just like you usually do.
2) Next, stand firmly in the other person's shoes and write a few more paragraphs from his or her specific vantage point-something you probably aren't used to doing.
3) Now, merge the emotional details you envisioned the other person experienced together with your perceptions and write a little more.

Were new vistas opened? Were you surprised by what you saw? Has the context of your well-formed picture of what occurred in this incident changed? Is your eye now beholding new shades of light and focus, previously not seen or related to? Now, go write like you've never written before.

Lynn Cook Henriksen, The Story Woman, is an author, teacher, speaker, workshop leader, Story Salon entrepreneur, and blogger. To be published Spring 2012: TellTale Souls Write The Mother Memoir, Lessons Laced with 40 Stories by Daughters and Sons to Inspire Writing Yours. She is a member of California Writer's Club-Marin and the president of Women's National Book Assoc-San Francisco chapter.
Website http://www.telltalesouls.com/
Blog http://www.thestorywoman.com/

How To Write a Novel Set In Another Time

Whatever time period you chose for your next best seller, it has to be set somewhere and if the book isn't a contemporary one, then you and you alone have to make it feel real. Gather up any information you can, whether it's on the web or in a library or from your own books, and jot down notes or copy everything you can get your hands on. For instance, if your book is to be set in Ancient Egypt, then study hieroglyphics, monuments and pyramids, and even all you wanted to ever know about mummy making (as an example).

Some writers love to "method write". This is just about the same way that method actors get into their roles. Be an Ancient Egyptian for a day, if your novel is set in Thebes. This may seem a bit obvious but you have to really get a handle on it and be correct about what was used, spoken about, eaten, etc. in that particular era. What food did the people eat back then? The Ancient Egyptians used to think that our brains were useless and that the heart was the center of everything. Think about what the common people of the day used to smell, and how they used to feel. Use both your brain and your heart.

Write a good outline first to see if your timeline will work and add interesting facts that you can use as you go along. Key your characters' names and title your book from some important things you find out about your novel's setting and time period. For instance, for a novel about Ancient Egypt you can use real Egyptian cities like Thebes, along with its former name of Wasset, which lends authenticity to your descriptions. If you are writing Sci-Fi then using a newly created name from New York, such as Neo York.

Names are extremely important and they can help develop personalities Research names used for men and women in the period you are writing about. When you know the meaning of the name you can give your character a few of those traits and this helps build a genuine person in the reader's eyes. If they have empathy towards your character, then you've hooked them. If your thriller set in Ancient Egypt has a good name drawn from authentic writing of the period, such as Going Forth By Day is from the Egyptian Book of the Dead, or an intrigung one like The Mummy Maker's Daughter, then that keys into a serial killer being the villain.

Also important is the fact that even though you have good and evil people in your book, never make them one dimensional. If you are writing about a serial killer called Thoth in ancient Egypt then give him a few good traits such as being in love with the heroine, Meryneith. If you have a Nubian police chief called Kemsa in love with Meryneith as well, break up the relationship by introducing a stumbling block or two -- such as an evil slave owner called Quasshie and a corrupt police major by the name of Aapep (whose name means moon snake in Ancient Egyptian). See how it works?

If you'd like to find out more about how to write a best seller set in another time, then visit the author's website and pick up more useful tips and info and see exciting excerpts from his new novel, The Mummy Maker's Daughter.

What Psychological Trigger Are You Using In Your Writing?

There are times that I am completely taken aback when reading what others are capable of. It is as if I have spent the past twelve years writing up stuff that means so little, made so little impact. I am humbled by how some people are capable of using psychological triggers in their writing to provoke either thought, emotion or action. Here are some of the things that I have noticed about how people write and convey, through words, what is in their heads.

Emotional psychological triggers - Writers who use words to trigger something emotionally are exceptionally rare. Most of these writers are suitable for screenwriting or scriptwriting because that is what most films are about. Suffice to say, these creative personalities are also suitable for the advertising and commercial business because of branding. Branding is rarely about just words. It is about captivating the hearts of people, make people remember the emotion and whenever they think of something, they link that emotion to the advertisement that they have previously seen. Words are incredibly powerful and so are these people.

Thought psychological triggers - I watched a movie once and in the movie, the WHOLE movie, the actors said nary a single word. Not a whimper, not a sound. They were both silent; and till this very day, I continue to be intrigued by the fact that they said nothing and conveyed so much with their eyes and action. Being a writer, I am, but of course, obsessed with using words for everything. I have the word for every single thing on the planet and the concept of NOT using words totally sent my world catapulting out the window.

The conclusion was - action and the eyes are powerful forms of expression. It leaves so much room for 'thinking' and the absence of words is incredibly moving. But words, when strung together nicely, neatly and in an adept manner, can trigger many thoughts. Writers who use thought psychological triggers usually leave much room for the imagination and are often clear and concise.

Action psychological triggers - Plain and simple; it propels people into action. If it is an advertisement, the words will make people WANT to get it NOW. Writers who use action as their triggers are fantastic advertisement writers and copywriters and the good ones are often priceless and are paid a hefty monthly salary. Rightly so.

There are no right or wrong psychological triggers for a writer. I think the most important thing to remember, as a writer, is to put the customers first. And also try not to mix the psychological triggers up. Don't run the risk of confusing the reader...they are easily perplexed. It is hard to get ANY reaction out of a baffled reader.

Marsha Maung is a Malaysian-based freelance blog writer with two kids. She spends her time ferrying her kids around, watering her plants, writing web content, SEO stuff, ghostwriting books and also indulges in the occasional Facebook-ing. Visit her blog for more dirty details on the life and times of a mother, writer, designer, housekeeper, coffee-maker, poop-wiper, chef...and just about everything else under the sun

5 Tips for Writing Authentic Crime and Legal Fiction

Writing about a highly technical topic, like crime or law, can be intimidating. In the world of criminal law, there are innumerable rules, practices and procedures. Criminal lawyers speak their own language. To write a good crime or legal story, a writer needs to have credibility.

Credibility comes from working within the rules of criminal law and speaking the criminal law language. But you don't have to be a cop or lawyer to write about crime or criminal law with authenticity. Here are some tips to get started:

1. Brainstorm: As in any genre, a good story with interesting characters and plot twists must be the starting point. Physically write out brainstorming ideas without regard to order, quality or completeness. Just start writing, and let the ideas flow.

2. Get Inspired: Inspiration often comes from outside sources, often unexpectedly. Read great books, and watch great movies, especially crime and legal drama. Read about crime in the news. Follow interesting trials. Watch true crime stories on television and read true crime books. You never know when some small tidbit will spark a story in you.

3. Outline: Everyone has their own methods of and opinions about outlining. Whether organized by chapter, act, scene, character or plot point, outlining is a critical tool to organize a story. The more complex the story, the more important an outline can be. Outlining can be especially important in a crime novel or legal drama because your story needs to fit within the rules of the criminal law world.

For example, if you want to have a piece of exculpatory evidence discovered at the end of act two, you will have to know what stage of the legal proceedings the case is in to help determine how the evidence could realistically come to light.

4. Educate Yourself: Read up about real criminal law on the internet and in books. Look for information specifically targeted to the non-lawyer. Watch real trials when they are televised. Watch true crime shows. Although they often cut out a lot of detail, especially the procedural stuff, they usually get things right. Read news stories and true crime books. The same warning goes for these sources: they are usually accurate but often leave out details you might want to know.

Do not rely on talking head lawyer commentators on television. They usually speak off the tops of their heads and often get things wrong. They also often have an agenda that they are pushing and speak of things from that point-of-view. Finally, do not rely on other criminal law fiction. Crime fiction in television, movies and books are often completely, eye-rollingly off the mark.

5. Consult an Expert: When in doubt, ask a question. As you brainstorm, outline and draft, keep notes of questions that come up. Consulting an expert, usually a criminal lawyer, can be costly, so try to know what you want guidance on before you contact someone. Also, be sure to speak to someone who is able to explain things simply and clearly, and who is willing to admit when they do not know something.

Following these tips will give a writer confidence to create within the world of criminal law and to begin writing crime and legal stories with authenticity.

By: Blythe J. Leszkay CriminalLawConsulting@gmail.com
Blythe is an experienced and successful criminal attorney and expert consultant with Criminal Law Consulting. She consults with and educates writers and filmmakers about criminal law issues in their projects. She provides simple criminal law information at http://www.criminallawconsulting.com/.

How to Write Horror

Horror as a genre encompasses many kinds of stories. Gore-filled 'slasher' stories featuring psychopathic murderers, quiet tales of psychological disturbance, and horrifying tales of the supernatural are just a few examples of what can be found under the auspices of horror fiction. In this article, we will discuss how to write horror fiction.

The kind of horror you write will largely depend on what kind of horror you personally find effective. Although that which horrifies is not entirely subjective, it goes without saying that many will find certain features of one horror story captivating, while others find it ineffective. So we might be inclined to ask the more general question, "What makes for an effective horror tale?" What readers generally identify as valuable in a tale of horror, whether it be a tale of secret murder or supernatural vampirism, is an element of intrigue or suspense.

If we were to examine the most popular and effective tales of horror, we would find very few that did not maintain a sense of suspense. Stories which divulge their most interesting point, or their most blood-curdling chill at the beginning of the narrative tend to fall flat, because the sense of building tension is deflated, relinquishing the story's power to captivate the reader. Suspense can be cultivated in a massive variety of ways - the crucial factor in writing a suspenseful horror tale is for the writer to maintain an awareness of how the dynamic of his or her suspenseful tale is unfolding, and to never give away too much information too soon (if at all).

Suspense in one of its simplest of forms can be built by narrating alarming events (such as murders) in which the identity of the evil-doer is ambiguous. This is one of the oldest and most common methods of suspense building, in both literature and cinema. It is the basic foundation of nearly all murder mysteries. You probably recall some book or film featuring a group of strangers, one of whom is likely to be the secret murderer, but nobody has enough information to be sure who is trustworthy. Ask yourself why it is that despite the horrific mass murders of dictators throughout human history people are more intrigued and horrified by stories about Jack the Ripper, a far less prolific killer? The answer is ambiguity. Nothing quite fuels that primal sense of horror more effectively than knowing that we are missing valuable information in potentially dangerous situations.

A palpable sense of tension can also be built by the suggestion that some evil entity, whether a ghost or a murderer, encroaches ever closer to the protagonist of the story. As the narrative unfolds in the reader's mind, so too does the unseen malefactor draw ever closer. This can be effected through many means, one being proximity. For example, a story involving a man trying to solve his wife's death may encounter a voodoo fetish being left in his bedroom as he comes closer to discovering the truth. This suggestion of proximity or closeness indicates to the reader just how real the character's personal danger has become, and therefore contributes to an escalation in tension.

So whether your story of horror is about ghosts, ghouls or just the horrors of everyday existence, you would be well-advised to be mindful of the amount of information you keep from your readers in order to prolong suspense. This is not to say you cannot suggest - let your reader use their imagination, because ultimately this is where the magic is happening. Thinking about what you would be thinking and feeling as the reader will go a long way in helping you to write horror.

If you're interested in learning more about the craft of creative writing, or if you just want some ideas for stories, have a look at this free story generator.

Writing a Detective Novel

Writing a detective novel requires careful story planning, clues, criminals, and motive(s) among other things. The writer must be clear in the logical sequence of the story. It has to be well worded, articulate, free flowing, and make the reader a visual participant of the event taking place.

Unlike a movie where the director can convey through visuals, speech and sound, while writing a detective novel the writer must depend on his writing capability to express the scene, feelings, pain, happiness, suspense or anger. The writer cannot show these expressions but has to describe them in a manner that the reader feels he can see them and not miss the visual impact of a cinema.

Detective story building blocks while writing a detective novel could be:

• Who is the Detective: Defining a detective could be 'someone who is searching for the truth'.

• Brief outline of the plot. The blocks can be rearranged later as the story develops.

• Background about the detective. Who is he as a person? Some information about his personal life and interests.

• Can some of the detective's personal attributes be linked to the story? What motivates the person - as an individual and as a professional?

• Is there anyone else who assists him or her? It could be a colleague if the person is a professional Law Enforcement authority or an amateur could be a friend / family member.

• A brief overview of the crime or plot and what is the reason or motive of the crime.

• Who is / are the perpetrators or suspects. Create a brief description of each along with possible motive of each.

• What are the levels of opponents, for example a lone killer, gang with henchmen, etc. The most powerful of these could be the hidden opponent, possibly a close friend or business associate - 'the pal who turns out to be working for the opposition.

• Description of the sequel of the crime & the criminals steps to hide the crime.

• What are the possible reasons of the crime! Sub-plots could be woven into 2 - 3 stories mutually-exclusive where the investigation is carried out on each of the leads. Eventually one lead ends by exposing the criminal, the method of the crime and the reason or motive.

• When writing a detective novel, determine the apparent explanations for the crime, which the detectives will discover and follow before they find out the actual explanation?

• Clues and red herrings should be planted to make the story exciting.

• Some detailing on how the clues were handled leading to discarding the red herrings and why the balance few clues are pursued.

Some suspense can be built while writing a detective novel where the detective has to make a difficult choice in pursuing one trail even though the other trail is equally probable. The novel should be written in such a manner that the reader is eager to turn the next page. This forms the backbone of detective novels.

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Small Business Newsletter: How to Write One?

Even small businesses will need the services and benefits that a business newsletter can give. This is a way to let the people know about new items, products or services. This is small business' way to introduce it to a particular person, group of people or other businesses as well. The best way to make a small business newsletter is not to make it 100% marketing. Though it is an effective marketing tool, you should not make it as though you are marketing the product or service. Make it as informative as possible. It should only appear as though you are letting the people know more about the product or service that your business has.

For a small business, the newsletter should always start with 'Dear Friends'. This will make the letter friendly and can make the readers feel comfortable with reading the letter. As your first newsletter, it is important to go directly to the point. Just simply inform the people that the business is coming up with new products or services. And then, introduce the product or service to them by giving a bit of information. This will let the readers know more of what you are talking about. Always consider your readers. Make sure that you are writing in the most comfortable way that the readers will read your letter.

Make sure that you are writing in a friendly and conversational manner. This will make it easy for your letter to connect quickly to the reader. Make it as interesting as possible. A communication letter should be written in an informative and friendly manner. But of course, do not forget to add a pinch of sales pitch to the letter. This way, you can possibly attract the people to try out what you are offering. If it is your first time to create a newsletter for your small business, this may appear to you as an experiment. But when you have seen its results, you will definitely want to create some more.

There are simple ways to create a newsletter for your small business. There are online templates which can somehow give you a pattern on how to create one. You can also get tips and methods on how to create an effective newsletter. There are even websites that teaches the basics of making this type of letter. You just need to know the basic principles so that you can create a valid and effective newsletter.

For many business people, newsletters are only for big companies. This is totally wrong. Any type of business whether big or small will need the help of this type of letter to boost up their visibility in the business world. This will also let the people know that a certain product or business exists. So, start experimenting on your first newsletter for your small business and gain the benefits of it in the near future. This has been a tried and tested technique for all types of businesses around.

Find out more info about Newsletter Marketing with my top recommended News Letter and learn more from the Business Newsletter authority site here as well with http://newslettermarketingsystems.com.au/.

That Creative Time of Day

My house is usually at it quietest between 1 a.m. and 4 a.m. More than likely, my daughter has fallen asleep by default after talking for countless hours on the phone or spending time on some social network, and my wife, despite her tendency of being a light sleeper, has entered into a deep sleep pattern.

As for me, it's my most productive time of day. It's been that way for decades. I'll go as far as to say that it's probably a productive time of day for you if you're a writer or creative arts is your passion.

Think about it. Unless you're working a job that requires your productivity at that time of night, what person in his or her right mind will be up with a pen or notepad, or pecking away on a computer keyboard? But there is something universally magical about that time of day. All of a sudden, thoughts and ideas begin to make better sense. The words seem to flow better. That creative concept all of a sudden seems clearer.

For years, I merely made light of one of my most notable achievements in my former profession as a newspaper reporter coming from a burst of creative energy that I experienced about 2:30 a.m. The story that I turned in later that day was a rough draft. It went over so well that there were virtually no revisions. That same rough draft actually earned me top national honors for best news story in my newspaper circulation category.

The first time I really shared this experience among other book authors was while I hosted my former talk show, in 2009. My featured guest that night was singer/songwriter Brenda Russell, whose work has been covered by other artists: "Get Here" by Oleta Adams, "Please Pardon Me (You're A Friend of Mine)" by Rufus featuring Chaka Kahn, and "If Only for One Night" by Luther Vandross are just a few that went on to become mega hits.

Ms. Russell understood exactly where I was coming from once I mentioned the inexplicable magic that seems to occur during that timeframe.

A good time to write, she said. Often, it's the first thing that we write is a strong idea.

Since then, I've come in contact with other authors who seem to thrive during those early morning hours. They also attribute it to being a time of the day when they're best able to concentrate on their craft and summon much of their creative energy.

I suppose only time will allow me to conclude if any of the work I've now done as an editor, author, or publisher might result in some major critical acclaim or a noted best-seller. Meanwhile, I continue to peck away on my keyboard in the relative solitude in my house: it's also the only time that my wife and daughter aren't interrupting me.

S.B. Redd is the publisher and creative coordinator at MavLit Publishing. He is also an editor, published author, and an award-winning former print journalist. Visit his websites at http://www.mavlitpublishing.blogspot.com/ or http://www.maverick-books.com/

The Hero Journey Motif As a Tool for Reading and Writing

Quite often teachers in middle school and high school find themselves teaching the grade level language arts curriculum from a conservative and sometimes minimalist point of view. What that means is that many follow generic lesson plans devised by a team, a textbook company, or themselves that cover only the very basic or minimal reading comprehension and writing skills. The reasons for this vary:

• They are required to follow a preordained set of standards.
• They aren't sure their students can achieve such a higher level of thinking and so do not take the risk of advancing beyond the suggested plan.
• They use methods with which they are comfortable.
• They may be unfamiliar with the available tools they can use to guide students successfully to higher levels of analysis.

If the reader identifies with any of these circumstances, please read on. Throughout my many years of research and classroom experience, one archetype in particular stands out as a foundation for guiding my students to in-depth analysis of literature. That tool is the monomyth, or hero's journey story pattern. Once students understand the basic components of this archetypal motif, they can analyze a story more easily using a specific set of criteria, but they can also use this tool for writing their own short fiction, a task which I ask them to do as a required entry for writing competition each fall semester. Whether students use this pattern in reading or writing, the hero journey archetype adds clarity and interest and depth to the task.

Although the hero journey motif is ancient, the oldest story structure in literary history that begins with Gilgamesh, it was Joseph Campbell's seminal work with world mythology that produced the most enlightening interpretation of the archetypes in the hero's journey. As with all of Campbell's work, he leads us to see that the stories of mythology are really our own stories, the symbolic pieces of our own lives. Imagine how beneficial such relevant studies can be for students in both reading and writing. So let's get started.

According to Campbell, the hero is called to an adventure, but sometimes he or she either refuses the call for personal reasons or doesn't recognize the call. What follows is an event that helps to change the hero's mind, and he decides to take up the gauntlet. Rarely does the hero go it alone. Help soon shows up in the form of friends, loved ones, even total strangers to accompany the hero to the first threshold crossing into the kingdom of darkness. The hero and his companions leave the world of common day to face the dangers looming in symbolic and even actual darkness. The hero tricks, seduces, destroys, or escapes from the threshold guardian in order to pass into the new world.

As the hero begins this new leg of the journey, she must face tests and trials as she is initiated into the danger. Ogres and demons must be conquered until the hero finds the elixir, the boon-either concrete or abstract--that will change the lives of everyone, including the hero. The supreme ordeal thrusts the hero into the most difficult battle. Named for the Biblical character Jonah who is swallowed by a whale, the supreme ordeal is often referred to as being in the belly of the whale and going on the night sea journey, and also as the archetypal image, facing a life threatening situation in the inmost cave, literal or figurative. The meaning is clear: the hero experiences rebirth in the symbolic womb. This event is the single most defining event that turns the typical adventure story into a quest for good. The hero is not the same person he was when he began the journey.

The hero must now return home with the elixir. Her flight takes various forms. The hero often flees from danger but sometimes he is dismissed, driven out, or escorted home along with his followers. On his return, the sharing of the elixir-the boon, the treasure-improves life for at least the hero and remaining companions if not everyone in their world.

A number of experts believe the monomyth is the underlying structure for the most popular and also most financially successful novels and films today. While this is an interesting and provocative idea, I have found the stories listed here illustrate the elements of the hero's journey quite well for my students' reading and writing benefit. This is only a small sampling of what is available. Once you begin to look for the motif in other works, you'll see what I mean.

• The Last Book in the Universe by Philip Pullman
• The House of the Scorpion by Nancy Farmer
• Any of the Harry Potter series
• True Grit (I use the John Wayne film.)
• Jason and the Argonauts (I use Edith Hamilton's Mythology.)
• The Odyssey (Again from Edith Hamilton)
• Theseus and the Minotaur (Edith Hamilton)
• Children on their Birthdays by Truman Capote (film version)
• To Kill a Mockingbird by Harper Lee
• Jane Eyre by Charlotte Bronte
• The Alchemist by Paolo Coelho
• Man's Search for Meaning by Viktor Frankl
• Night by Elie Wiesel
• The Secret Life of Bees by Sue Monk Kidd
• Blessings by Anna Quindlen

Good readers make good writers; thus, the monomyth motif can serve as an excellent structure for the short stories I ask students to write for the Scholastic Art & Writing competition. Although this writing contest for grades 7 - 12 is worth devoting precious teaching time to, this article will not delve into the details of the contest. I urge the reader to look at scholasticart&writing.com for more information. What I will explain here is how I use the monomyth structure to prepare students to write their short fiction entries.

The initial action:
• Call to adventure
• Refusal of the call
• Setting out with helpers

Building the action and moving the plot forward:
• Crossing the threshold
• Encountering dangers and conflicts
• The supreme ordeal: facing the main character's greatest fear or challenge, perhaps even death (usually symbolic death, but sometimes actual death)

Building the close with flight/elixir/return
• The main character flees old ways, dangers, fears, and he/she is a changed person. Life is going to be different and usually better for the main character and perhaps even other people in his life. The main character or hero has returned home, literally or figuratively, with the symbolic elixir that solves the initial problem.

For a complete writing workshop which includes plot practice, character depth, paradigm shifts, hamartia, and dialogue and much more, see See Dance of Language

4 Tips To Increase Traffic To Your Blog

Many businesses are jumping on the bandwagon to start their own blog. The problem many people have when they start a blog is they do not have any readers or followers. You may have a writing services company write your web content or you are writing it yourself. Here are four tips to increase traffic flow to your blog.

Networking

To increase traffic flow to your blog, you need to start networking with other people and businesses. Look up social forums and business networking websites, and create a profile to talk about your business. Include links to your blog in every posting. You can also email old coworkers, friends, and family members about your blog. The more you network, the more traffic your site will potentially have. Place your blog website link everywhere you can to increase traffic.

Read Other People's Blogs

People who write blogs want their articles to be read. Start reading other business blogs. Post comments on other individual's blogs, which drives traffic to your own blog. This is a good way for your blog to get noticed by other people. This is a free service to use. Write interesting comments about a posting, which engages other readers to want to read what you have to say on your blog.

Promoting Your Site

If you do not promote your site, you will not increase traffic. Post your blog address everywhere so you will get noticed. Post the address in your email signature, on your website, in social forums, comments, and social networking websites. You can also put your link address on letterheads, brochures, business cards, and any other business advertisement you send to your potential and current customers.

Write SEO Content for Your Blog

People who use popular keywords that are relevant to their industry will boost their ratings in search engines. Your blog content needs to be optimized to maximize your chances to get noticed by potential customers and readers. Use a 2-3% keyword density to maximize your chances of getting your blog noticed. A good writing services company can write quality SEO content for your blog on a daily basis, and post to your blog so you do not have to. They are experts in creating blog content to keep your readers engaged, and to come back for more.

Choosing writing services companies to write your blog web content will increase your search engine ratings for your blog.

Rachel Vincent
Same-Day Writing Services
http://www.samedaywriting.com/