Tips on Point of View

You have completed your manuscript and now is the time for you to edit and rewrite. One of the things you should look at is your point of view. Did you choose the right perspective from which to tell your story? And is it consistent? Here are a few guidelines.

First of all, point of view refers to who is telling the story. Generally three points of view are used. First person - where the "I" voice is used and it is a character who is telling the story. This provides a level of intimacy, a closeness to the story teller.  Omniscient - which is where the author is telling the story and generally provides a more distant perspective. And third person - which is almost a mix of the two, where you can tell the story from several different perspectives and move easily from one character's head to another. 

Tips for editing POV:

1. Determine how much intimacy you want to create between the reader and your characters.

2. After deciding the level of closeness you want, check to see if the point of view you chose also allows you to easily tell the story in the way you want.

3. If you have chosen first person, is your character someone readers will want to spend time with? Are they likable, but flawed? Not annoyingly perfect.

4. If you chose to write in third person, review each scene and determine who's head you will be showing the scene through and make sure you are consistent in only sharing with the reader those things that particular character would know.

5. When using third person, check each passage and determine how soon you clue the reader into who's head they are in. You may want to make sure readers can quickly identify who's perspective they've stepped into. 

6. To continue to create consistency in your POV, look to ensure when you are writing from a particular character's perspective you are using the words, terms and emotions that are most likely to be used by your character. 

____________________________________

D. Jean Quarles is a writer of Women's Fiction and a co-author of a Young Adult Science Fiction Series. Her latest book, House of Glass, Book 2 of The Exodus Series was written with coauthor, Austine Etcheverry.

D. Jean loves to tell stories of personal growth – where success has nothing to do with money or fame, but of living life to the fullest. She is also the author of the novels: Rocky's Mountains, Fire in the Hole and, Perception. The Mermaid, an award winning short story was published in the anthology, Tales from a Sweltering City.  

She is a wife, mother, grandmother and business coach. In her free time . . . ha! ha! ha! Anyway, you can find more about D. Jean Quarles, her writing and her books at her website at www.djeanquarles.com

You can also follower her at www.djeanquarles.blogspot.com or on Facebook

Marketing Mistakes to Avoid if You're a New Freelance Writer

by Suzanne Lieurance, the Working Writer's Coach


If you’re trying to build a business as a freelance writer, you need to market yourself and your business, of course. But avoid these common marketing mistakes and you’ll build your business (and your income) much faster:

Setting Up Too Many Online Sites Too Soon
Most writers love to blog. In fact, I see writers who set up blog after blog before they find any writing jobs that pay, thinking these blogs will help them build their writer's platform. But then, before they know it, they’ve eaten up all their available writing time simply trying to keep up with the many fun sites they’ve created.

Create just one blog or website that you can use to promote your freelance writing, then get some writing jobs that pay before you branch out and set up additional fun sites.

Writing for Free for Too Long
In the beginning, freelance writers need published clips so they can get bigger and better writing assignments. And it’s often necessary to write for free to get these published clips. Yet many writers continue to write for free long after they’ve acquired published clips. They spend their days writing book reviews or conducting interviews with authors. They end up spending a LOT of time doing this, and it eats up the time they could, and should, spend writing for pay or looking for new assignments or clients.

If you're a new freelance writer, write a few short articles for online directories or no-pay markets to get clips. But once you have these clips, start looking for writing jobs that pay. If you like to write book reviews and interviews with authors, do this only after you’ve acquired some steady writing assignments that will provide you with income.

Spending Too Much Time Doing the Fun, Easy Stuff
To earn money as a freelance writer, it’s necessary to send out queries and take other actions to get new clients and assignments. This is usually uncomfortable for new writers, so quite often they avoid the real work that can help them earn substantial income in favor of spending too much time doing fun, easy stuff like tweeting, posting to Facebook, and even writing short low-paying articles for content mills. They convince themselves this is building their business, yet it isn't bringing in any new clients or assignments.

Start your workday looking for new assignments or clients and save the social networking and more fun stuff for later in the day.

It isn't difficult to build a substantial income as a freelance writer if you spend most of your time focusing on actions that can earn you money.

Try it!

Suzanne Lieurance is an author, freelance writer, certified professional life coach and writing coach, speaker and workshop presenter. She has written over two dozen published books and hundreds of articles for newspapers, magazines, and other publications. She lives and writes by the sea in Jensen Beach, Florida.

Visit her blog at www.writebythesea.com and for daily tips to help you stay focused on your writing career, get your free subscription to The Morning Nudge at www.morningnudge.com.

Writing, Fear and Yoga

Though it may look like the writer isn't doing much, sitting for hours in front of a laptop, the brain is heavily engaged. The work is often emotionally demanding in the extreme, taking us places that we're afraid of but need to go, and forcing us to look deep into the black hearts of our deepest fears to uncover reality in our characters and situation.  It takes great courage to walk the difficult path of the artist, and often the effort is physically exhausting.  Fear is always tracking you, and the closer you are to reaching your writing goals, the more intense and insidious that fear can become.  Fear is a great shapeshifter, looking like block, like the need to research, like being too busy to write.  It can stop your story in its tracks just at its most critical point.

My latest work in progress (WIP) is particularly challenging, taking me to dark recesses of the past, exploring notions just beyond my intellectual capabilities, and forcing me to rethink what I know about fiction.  Every writing session is hard.  That's how I know I'm on the right path - because it it were easy, I wouldn't be pushing myself, growing, or moving my skills to a higher bar.  So how does one cope with this fear in all of its incarnations?  How do you push through it towards completion?

My biggest ally against fear is to move my body.  Exercise of all kind helps, but for me, there's nothing quite like either swimming, or doing yoga - two forms of exercise that have a mental impact on me - helping to clear my vision, work out intellectual problems with my stories, and teach me to cope with fear.  Both swimming and yoga are what I call breath practices.  They involve engaging your breath and using the breath to propel and lengthen the muscles.  Being quite small boned, I tend to get cold easily and it's often too cold to swim.  I don't much like heated indoor pools (the chlorine doesn't agree with me), so I tend to do quite a lot of yoga.  Yoga is amazing for writers.  Here are three reasons why yoga is a natural ally for the writer:

• It helps teach us to see writing as a practice, rather than an end point.  We keep moving along the writing path, growing, changing, and pushing towards wisdom and expression.  It's not possible to fail, no matter how hard it is, when you have this perception. 
• It teaches you to breathe. Ah, breath.  How simple and yet how powerful. Breathing is the perfect antedote to fear.  I first found out how powerful it was when I was in labour with my first child, screaming in pain.  An angel of a midwife came to me and taught me to breath slowly, deeply, with my full body and I calmed down and got to work. I've turned to breath again and again in times of stress, strive, and fear, and it never fails to remind me of the transience of each moment and the need to work, calmly, through the panic. 
• It teaches patience.  Sometimes the right words take time to come.  You have to keep showing up, doing the exercises, stretching, breathing and working towards the vision. 

About my writing work, yoga teaches me to see my writing as work that has to be done - a responsibility and positive impetus rather than a vanity (another manifestation of fear). So next time you're struggling with the dragons of fear - call it what you will: block, self-doubt, other priorities, "no-time", try taking a 30 minute yoga break and see if that doesn't help. Breath through it. Even when it hurts. Then back to work. The world is waiting for you to change it.

Dialogue Important in Memoirs Too

The use of dialogue is important in memoirs as well as in fiction.

Many of us assume that because we can’t recall conversations word for word, we can’t write dialogue. Memoirs are your “memories,” so you can take a little creative license with them. Actually, no one recalls conversations in detail. If you do remember a significant line or exchange, by all means quote it. But more often you will simply remember that a conversation took place. You will have to imagine the conversation as a novelist would, without all the uhs and ers, tangents and digressions that people use when they talk.

Here’s what dialogue is:
• Talk is an ACTION. An ideal, compact way to advance your story by having one character tell the other what’s happening—to reveal, admit, incite, accuse, lie, etc.
• A way to define a character. The way someone speaks—accent, vocabulary, idiom, inflection—tells as much about what he is like as his actions do. And let’s us see him better than just using description.
• One way to show emotion. Characters reveal themselves when under stress or angry. Dialogue is used to create an emotional effect in the reader.
 • Another way to show point of view POV. (in whose head the reader should be.) This is not quite as critical in Memoirs as in fiction, because it may be all from your POV. Depends how you write it—if you’re writing someone else’s story, you may want to write it in story form, from “within your character’s head” or third person—Suzy did, she said, etc.
• Often used to get across what is NOT said. Example, if you want to show that someone wants to avoid an unpleasant encounter, you can show this by having them talk around the subject uppermost in their mind, but never quite touch it. In this way, you’re asking the reader to read between the lines. It’s tricky, but think about how you talk to someone yourself when you’re angry at them but don’t want to tell them exactly why—by being sarcastic, arch, nitpicky, over solicitous, etc.

Techniques. One of the most common reasons for flat, voiceless dialogue is formality. Dialogue sounds artificial when it is totally coherent and logical. You want thoughts that are loose, words that tumble out.

• Use more contractions—“I would not (wouldn’t) do that if I were you.” UNLESS you want to portray your character as being stiff or pompous or that English is not his first language. “Is it not wonderful?” has a Continental flair.
• Use sentence fragments. Example: Instead of:
“Is she sick?”
“It does not matter if she is or is not. She is not going to go to the party.”
Write:
“Is she sick?” “Doesn’t matter, she’s not going.”

Taglines. Whenever possible, try to use an action instead of a tagline (he said, she said). One of the reasons for not using a lot of taglines is to develop each person’s distinct voice, so that all your characters don’t sound the same. Hint: If you do use taglines, it’s better to stick with the word “said”, rather than trying to come up with substitutes such as cry, interject, interrupt, mused, state, counter, conclude, mumble, intone, roar, exclaim, fume, explode. These are “telling” words. Let the words in the dialogue show the emotion. And you can NEVER smile words, or squint them, or laugh them.

DIALOGUE DO’S AND DON’T’S 

DO:
• Establish the point of view (POV) of each character, i.e. his or her values and attitudes
• Recreate the impression of natural speech.
• Use dramatic structure to shape the sequence of what is said.
DON’T:
• Let characters make long speeches
• Put in “dead” dialog that doesn’t further the story line, e.g., “Hello, how are you?” “Fine, how are you.”
• Use too many odd spellings, for dialect
• Use too many taglines or substitute different words for “said.”

------------------


A native Montanan, Heidi M. Thomas now lives in North-central Arizona. Her first novel, Cowgirl
Dreams, is based on her grandmother, and the sequel, Follow the Dream, won the national WILLA Award. Heidi has a degree in journalism, a certificate in fiction writing, and is a member of the Independent Editors Guild. She teaches writing and edits, blogs, and her next book Dare to Dream Will be published next May.

Use Seven Senses to Spark Your Writing

Writing Better Lyrics by Pat Pattison

"Use Seven Senses to Spark Your Writing" by Joan Y. Edwards

In learning how to write better song lyrics for the musical movie I am writing, I ordered about 6 books about how to write or improve your writing of lyrics from the library. Much to my surprise, when I read Writing Better Lyrics by Pat Pattison, I was amazed that he gave his readers exercises that would not only improve the writing of lyrics, but any kind of creative writing, you might pursue.

He suggests that for ten minutes - only ten minutes a day - not a minute longer to do an Object exercise.
Use seven senses: (There may be more, but Pat Pattison only emphasized seven)

1. Sight- What you see and what it looks like
2. Hearing - What you hear with your ears and what it sounds like.
3. Taste - What you taste and what it tastes like.
4. Smell - What you smell and what it smells like.
5. Touch - What you touch and what it feels like: hot, cold, prickly, smooth.
6. Inside Body Functions (Organic) - Your awareness of inner bodily functions. For example: heartbeat, pulse, muscle tension, stomach-aches, cramps, nausea, and breathing, pain, poisons. Concerns the movement and function of the physical organs insights and senses inside your body. 
7. Kinesthetic - Sense of motion, speed of motion, balance, gravity. Use of the body to do something or create something, to move. 

For ten minutes you write freely. The only thing is you write sentences or phrases about the object. Tell something you remember about this object. Show us in as many ways as you can. Use your senses. Make it personal to you or write as a character in a story. You are free to include who, what, when, where, why, and how to your writing during the exercise. I think it would be a good idea to read over the different senses described here before you begin to write.

Pattison says that each time you do it, you'll dive deeper into your subconscious mind and get all those treasured word jewels hiding out in there. Each time you do it, you'll get more relaxed and able to dive down sooner than you did the last time. You can pretend you are a character seeing or using this object.

Pattison says not to spend longer than ten minutes a day doing this. He warns that people stop because they say it takes too long when they spend more than ten minutes. Or they say, I did 30 minutes today. I can skip Thursday and Friday. When you do it regularly, you reap the benefits.

I'm going to put a word here: SALT. I'd like for you to share what you wrote about it during your ten minute exercise as a comment. If you don't want to share your writing, just tell me how and why you think this will lead you to improved writing.

Here are five other words you might like to do a free 10 minute exercise for 5 different days:

1. sand
2. clock
3. concrete
4. beret
5. refrigerator

I did a 10-minute writing exercise for the word Salt. I will post it in the comments area. I may not have used all 7 senses, but I had fun writing it. If you like these kind of exercises, let me know. I'll try to dream up or find a few others to try to help us improve our writing.

Celebrate you
Never Give Up
Joan Y. Edwards
Copyright © 2013 Joan Y. Edwards

Reference:
Pat Pattison. "Writing Better Lyrics:" http://www.amazon.com/Writing-Better-Lyrics-Pat-Pattison/dp/1582975779/ 

Never Give Up-Joan Y. Edwards

My Books:

Flip Flap Floodle, even mean ole Mr. Fox can't stop this little duck

Joan’s Elder Care Guide, Release date June 2014 by 4RV Publishing

Website: http://www.joanyedwards.com

Blog: http://www.joanyedwards.wordpress.com

Twitter: https://twitter.com/joanyedwards
Linked in: www.linkedin.com/pub/joan-edwards/18/3b8/330

Facebook Author Page http://www.facebook.com/pages/Joan-Y-Edwards-Author/111310278911077

Facebook: PubSubbers: https://www.facebook.com/PubSubbers

Writing for Children - Which Came First, the Chicken or the Egg?

If you’re in the children’s book industry long enough, you’ll find out there are two schools of thought. Some editors, authors, and agents believe the chicken came first. Others argue it was the egg.

Personally, after writing over 80 books for such publishers as Scholastic, Reader’s Digest, and Chicago Review Press, I’m a firm advocate of the egg.

What am I talking about? The “chicken” I’m referring to is a manuscript. The “egg” is a contract. If you want to have success, build a rewarding career, and earn a steady income from writing, which should come first, the manuscript or the contract?

There are countless articles interviewing successful writers who believe the chicken came first. These say, “Write the manuscript first and then get it published.” These articles explain how it took years for the author to hone her skills, revise her manuscript innumerable times until it was polished to perfection, and then catch an editor or agent’s eye. There are numerous conferences where editors and agents speak and repeat, “Send me a manuscript that knocks my socks off, and I’ll publish your book.”
   
What I want to know is, how did those authors pay the bills all those years? How did they maintain their sanity through the mountain of rejections? How did they build a career?
   
You see, I believe the egg came first. If you talk to career writers, those successful authors who earn a decent and steady living writing for children, you’ll find a surprise. More often than you realize, these writers land a contract before they write the manuscript.
   
How did I discover this? It happened at my very first conference. A friend said, “I signed you up for an appointment with an editor!” After I got over my shock, curiosity got the better of me. I went to the appointment. And listened. The editor told me about a new book idea she wanted. I found myself nodding my head and saying, “I’ll send you a proposal for that idea.” I went home, followed her directions, and sent her a sample of a potential manuscript. I landed a contract. And then I wrote the book. My very first book.
   
At that same conference, I stood in the lunch line next to a different editor. I asked her what she published. She said a series of Bible storybooks. I asked her if I could try to write one. She explained what to do. I went home and followed her directions. I landed a contract. And then I wrote the book.
   
And so the story continued. Time after time, I landed a contract first, and then wrote the book. I was starting to see a pattern here. It was exciting, and it sure helped pay the bills!
   
The story continues today. I found a blurb in a writer’s magazine saying Sleeping Bear Press was looking for alphabet books about multicultural topics. I studied their website, noted which topics their books already covered, and saw they didn’t yet have an alphabet book about African American history. I e-mailed a query asking if they’d like to see a proposal for such a book. They e-mailed back and said sure. After submitting the proposal, I landed the contract. Then I wrote the book, D is for Drinking Gourd: An African American Alphabet. Which came first in the picture book genre, the chicken or the egg? Once again, the egg. The same was true for my teacher’s book, Readers Theatre for African American History. Which came first in the educational market, the chicken or the egg? The egg, again!
   
My search for a new contract usually follows the same pattern. I look in market guides and writers’ magazines, browse bookstores and libraries, and network at conferences and writers’ groups. I look for a publisher who accepts queries. When I find one that interests me, I study their website, look at their catalog, and think of three to five ideas that could fit into their product line. Then I send a query asking the editor if she’d like a proposal on any of those ideas. When that query is in the mail, I look for another publisher to target. If an editor replies and asks for a proposal, I prepare one to submit. If I’ve never written for that genre and the editor requests a writing sample, I ask for a sample assignment so I’m submitting a sample targeted to that publisher. Once that’s in the mail, I continue the cycle again.
   
And so it goes. This method works in every genre. From middle-grade novels to nonfiction to novelty books to fiction picture books, I land the contract first and then write the manuscript. It’s daunting. It takes work. But it’s very, very rewarding. And it helps pay the bills.

Nancy I. Sanders is the bestselling and award-winning author of over 80 books with publishing houses both big and small. She wrote a children’s writer’s column in The Writer’s online magazine, the Institute of Children’s Literature e-news, and The Christian Communicator. Nancy still lands the contract first before she writes the book. You can learn more about how she does it in her award-winning book, Yes! You Can Learn How to Write Children’s Books, Get Them Published, and Build a Successful Writing Career.  It shares insider tips and winning strategies that have helped her land over 80 book contracts. Learn more at: http://yesyoucanlearn.wordpress.com

MORE ON WRITING

Writing Fiction for Children - 4 Simple Tips

Discover Pitch Wars by YA Author Brenda Drake

Everyone Starts Small So Get Started

5 Good Reasons to Write Short Stories

Watching for Euphemisms and Mealy-Mouthed PC-isms

Frankly, I think getting too PC (politically correct) can interfere with clear, concise English. But, we writers need to be aware of PC trends so we can make conscious choices and avoid faux pas whenever possible. And there are lots of PC-isms we out there we need to know.

But here's an example of  what I consider just too, too PC: An academic at one of the universities that uses my husband's reference book, What Foreigners Need to Know About America From A to Z (http://amzn.to/ForeignersAmericaUS) objected to the word "Foreigners" in the title. My husband was aware of that difficulty when he chose that title. Some consider it pejorative. The thing is, there is not really a perfect substitute in the English language. "Aliens" calls up an image quite different (and for some even more negative) than "Foreigners." These academics who used to call their students from other countries "foreign students" now call them "international students," but that term wasn't quite right for this book. Some people this book is written for may be emigrants. Second generation citizens. Tourists. People who aren't Americans who conduct business with Americans both in the US and in their own countries. And on and on. Though not a perfect term, "foreigners" was the most inclusive word he could find.

I think that often attitudes about words tell more about the person who objects to them. When did it get to be a bad thing to be a "foreigner?" In America, even Native Americans were once from somewhere else. Or, more importantly, when are we going to get over the idea that being a foreigner is a bad thing.

Now the LA Times reports that the respected AP (Associated Press) has decided to discourage its reporters and editors from using the word "illegal immigrant." Some find the term offensive. The Times reports, "They prefer 'undocumented' arguing that 'illegal' is dehumanizing and lumps border crossers with serious criminals."

So the venerable AP stylebook warns against the term, though they, too, couldn't find a suitable substitute for all cases. Instead they suggest a kind of "working around it" approach—which may be an adequate alternative in the body of a written piece but may be tough when coming up with a title or headline.

There are all kinds of phrases and words that we should be leery of. We know—instinctively or because we writers need to keep up on such things—most of them. But sometimes the style suggestions are just plain mealy mouthed. Meaning that they are diluting our language without offering anything that works as well.

Decisions. Decisions. Just remember. "Undocumented" isn't going to work. Some people have documents, just not the right ones.

But the part of all this—the part that I love—is the idea a senior manager at Associated Press put forth: "It's lazy to label people. It's better to describe them." I have to agree with that. I was labeled all my life and hate putting labels on people. It's a little like putting them in a box, locking it, and throwing away the key.

And, just so you know, LA Times and The New York Times will soon be weighing in on the "illegal" and "undocumented" issue. Can't wait to see what they come up with.

Note: In the 1970s, the LA Times style book preferred "illegal alien." Times do change…gradually. Thank goodness, mostly for the better. I'm going to accumulate style choices, possibly for a new book. If you have ideas for me, please let me know at HoJoNews@aol.com

 

 

-----
Carolyn Howard-Johnson edits, consults. and speaks on issues of publishing. Find her The Frugal Editor: Put Your Best Book Forward to Avoid Humiliation and Ensure Success (How To Do It Frugally series of book for writers). Learn more about her other authors' aids at www.howtodoitfrugally.com/writers_books.htm , where writers will find lists and other helps including Great Little Last-Minute Editing Tips on the Resources for Writers page. She blogs on all things publishing (not just editing!) at her Sharing with Writers blog. She tweets writers' resources at www.twitter.com/frugalbookpromo .