November 2017 - Never Assume

You can never guess or assume what anyone is going to think.
— J. J. Abrams



Touching the mind of another person, especially with the written word has many pitfalls.

The major one for writers is that what you meant isn't necessarily what you wrote down on the page. For example:                     The mirror winked back.

Did reading that make you stop and think about what was going on?

Did you laugh at the impossibility of a mirror actually winking?

Well, this is a prime example where logic trumps creativity. And remember, logic always trumps creativity. Besides, readers are logical people and when they see something like this, the writer's credibility nosedives.

The fix is simple. Just show and convey that a character looked in the mirror and winked at themselves, like–


Marsha paused before the hall mirror. Seeing her flawless makeup and hairdo, she winked. Yeah, kiddo, you're stunning. John is in for one helluva surprise.

Yes, showing always requires more words. However, in the above example, the reader will easily believe what's going on.

Here's another example, which is my all-time favorite:

                            He put his head through the door and knocked.

How do you put a head through a door if you're not a ghost?

Okay, how about you rewrite this to show what was actually meant. Feel free to share your version in the comment section.

******Topic for December will be "First Impressions Count"

Second Notice ...............

YOU'RE INVITED TO DECIDE WHAT TOPICS WILL BE ADDRESSED IN THE 2018 WRITERS CHEAT SHEET BLOG POSTS —

Are you struggling with some aspect of writing fiction? Well, here's your chance to get help. I am opening the 2018 Writers Cheat Sheets monthly blog posts up to your questions or topics. 

You can state your question or state your problem with a comment at this blog site or, if you wish to remain anonymous, email your question to me at —
Catherine@CatherineEmclean.com

Deadline is December 5, 2017.

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October 2017 - It's Not Dialogue But Written Standard Dialogue

Pay attention, please: the reader has only the words on the page to go by to form a movie in their mind and to HEAR the voice of the narrator or character.

Whether writing spoken, internalized, or telepathic dialogue, you are not writing exactly what a character says or thinks but what's been termed "Standard Written Dialogue." That's to avoid such things as: "Ah, you know, George, I—I—think, um, he's dead." Instead you write: "George, I think he's dead." or even "George! The guy's dead."

Pay attention, please: the rules of grammar and punctuation go out the window when writing dialogue.

Why? Because to follow the formal rules of English nets stilted and unrealistic sounding characters or narrative voice. For example: To whom are you talking? That would suit a character with a lofty attitude and education but not an ordinary Joe. So just simply state: Who are you talking to?
 
A lot of problems with dialogue can be fixed by paying attention to the punctuation and using ones that convey the meaning, the voice of the speakers (or thinker), and provides the correct rhythm for the voice (the pause of silence). 

As you read the following, LISTEN for how you hear the word when you see it and its punctuation mark—

    Stop.
    Stop,  
    Stop . . .    
    Stop (or Stop)
    STOP.
    STOP!
    Stop!
    Stop—
    Stop?

Notice that there is no colon or semicolon among the above. That's because colons and semicolons are symbols that do not instantly convey the rhythm or sound of silence. 

Okay, so it might be correct grammar and proper English to use colons and semicolons, but in fiction, using them actually hinders a reader's enjoyment because it's a rough spot in the text. Those colons and semicolons take the reader out of the story world. On a subconscious level, that grates. Do it enough times and the reader finds your five-star story worth only two stars. 

Need to hone your skills with dialogue mechanics? For a limited time, I'm offering a one-on-one online course on DIALOGUE MECHANICS. You can find information here.Of course, if you want to know more about dialogue and dialogue mechanic do's and don'ts, read Sections 9 and 11 of REVISION IS A PROCESS.) 

********
Your input is needed for 2018's blog topics.

Are you struggling with some aspect of writing fiction? Well, here's your chance to get help. I am opening the 2018 Writers Cheat Sheets monthly blog posts up to your questions. 

You can state your question or state your problem with a comment at this blog site or, if you wish to remain anonymous, email your question to me at 

Catherine@CatherineEmclean.com 

Deadline is December 5, 2017.

****
November's blog topic is Never Assume

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Septemer 2017 - To Trope or Not to Trope

Cliches are what make you understand something. 
--Matthew Vaughn


 



Is it impossible to write something without using a trope or tropes?

Well, I once read that it is impossible to do that. That's because there are no new story plots.

The definition of a trope is basically the use of figurative language – via word, phrase, or even an image – for artistic effect like a figure of speech or metaphor. Tropes help convey things quickly to the reader without writing reams to explain.
An example is the stereotyping of certain characters, like Scrooge, the penny-pinching miser, or Jessica, voluptuous blond bombshell in Who Framed Roger Rabbit.

Yet, tropes are fiction writing tools that can be used as is or be tweaked into something fresher. Thus the old becomes new again.
 
Are you aware that genre fiction follows tropes? Some time-tested and valued, other's are cliched and to be avoided. For instance, a good trope for a romance is that the ending is one of HEA (Happily Ever After). The not-so-good trope of a science-fiction story would be the overdone, cliched Adam and Eve story.

Tropes are also patterns. Stories have structure which follows a blueprint or pattern. That's a good thing in genre fiction because it guarantees a reader will find the type of story they crave. Plots tropes are what makes genres popular. What is fantasy without a quest or magic? What is sci-fi without science and the extrapolation of the future? What is a mystery if it doesn't have a crime-solver? And a good romance will have a HEA (happily ever after).

The most overused tropes lend themselves to parody, irony, and can even become a bit snarky—or cool or scary what ifs.

Tropes are neither good or bad. But caution is always advised. Once again it's the guideline of "know the rules before you break or tweak them."

I wish you all the best with your writing endeavors,

Catherine E. McLean

**************
 October's topic will be - It's Not Dialogue But Written Standard Dialogue
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August 2017 - Common English Simplified?

In general, fiction is divided into 'literary fiction' and 'commercial fiction.' Nobody can definitively say what separates one from the other, but that doesn't stop everybody (including me) from trying. Your book probably will be perceived as one or the other, and that will affect how it is read, packaged and marketed. Nancy Kress

Do you know the reading level of the average person?

Do you know the reading level of those you expect to read your fiction or nonfiction?

Do you even care?

Well, you should care.

You see, too many writers forget that using simple language helps a reader enjoy what they read. The exception, of course, is dialogue. In that case, the words must be in the voice of the speaker.

I believe every writer should, now and then, run their work through the F-K test. F-K stands for the Flesch-Kincaid. The F-K calculates how difficult a passage in English is to understand. The test includes not only the words but also their meaning and the overall meaning of a sentence or a paragraph.

The F-K includes two tests. One is the Flesch Reading Ease. The other is the Flesch–Kincaid Grade Level. Both use word length and sentence length. However, the two weigh different factors. The result is that text with a high score on Reading Ease nets a low score on the Grade Level test. And that's a good thing to keep in mind.

The F-K scale is so useful it comes with word processing programs like WordPerfect and WordPro. For Microsoft Word users, you'll have to check: http://casemed.case.edu/cpcpold/students/module4/Word_Readability.pdf

When I began writing genre fiction, I was told to strive for a 6th grade level and not exceed 8th-9th grade level. That was wise advice. After all, it's the job of a writer to put words on a page so that the reader instantly grasps imagery, ideas, and meanings.

How about taking the time to test a section of your work? Where does it fall on the F-K scale? Feel free to share your findings with a comment to this blog.

P.S.— For the curious, I use WordPerfect as a word processing program. Here's what this post netted on the Flesch-Kincaid score➡

***Next topic:   September - To Trope or Not To Trope

 # # #

July - The Greatest Pronoun Reference Error

Writing is an act of faith, not a trick of grammar. — E. B. White






It is what it is or is it?

Let's get one thing straight about the use of pronouns when writing fiction:  A pronoun refers back to the LAST USED NOUN.

Pronouns are valuable because they substitute for repeating a noun or name over and over again, but you don't have to go overboard using pronouns. Too many he, she, or it pronouns can pepper pages and at some point, and on a subconscious level, those repetitions will turn a good story into a not-so-good story for the reader.

In your revision process (you do have one, right?), make a special pass to check the pronouns you've put on your pages. What do they actually refer to? Remember, clarity trumps all rules and, therefore, you can repeat a noun-name. Again, it's better to rewrite for clarity then adhere to the strict rules of grammar.

As to the pronoun that causes the greatest problems? That would be the word it. Here are examples where it needs more clarity:


    A)  He saw it hesitate when it turned its head. Although it looked exactly like a bird of paradise, it was not.

There are 5 repetitions of it. If you've been following this blog, you also know there are a couple of other problems with the sentences. I won't elaborate because this post is about pronouns. You can, however, leave a comment if you know what else went wrong in these sentences.

    B) The wound still bleeds. Should I put it out of its misery?

I'd like to see someone put a wound out of its misery, wouldn't you?

    C)     The wind ruffled his hair as it blew in from the ocean.
   
Personally, I've never seen hair blow in from an ocean. 

As you can see, it is not about what a writer means, it's about using the correct words to clarify and help a reader form an image in their mind. 


***The topic for August is Common English Simplified?


 

June 2017 - Don't Start Where You Started

Like many writers, I started by writing short stories. I needed to learn how to write and stories are the most practical way to do this, and less soul-destroying than working your way through a lengthy novel and then discovering it's rubbish. — Kate Atkinson
 
Where does a story really start? 

You've likely heard that the first three chapters or the first 100 pages of what you initially wrote of a story should be cut because that isn't where the story really started.

Ahem—I disagree with that thinking. You see, those words and pages were actually where the story started FOR YOU—you needed that information in order to write the rest of the story.
   
Much of that foundation was likely world building information and characterizational skits or vignettes so you, the writer, get to know the lay of the land and the characters. It's like an iceberg, 10% is seen above water, but it's the 90% below the waterline that support it. In essence, only 10% of what the writer learns about all the aspects of their tale will make it into the story because the reader doesn't need all that information.

The real problem comes in trying to decide where the story actually begins. The answer is that a story begins with an interesting character, in an interesting setting, facing an interesting problem or dilemma. Of course, that interesting character is the protagonist. After all, a story depends on one person's struggle with a problem.
   
The start of a story is also the point where the protagonist's ordinary life takes a nose dive into the abyss of an uncertain future of trials and tribulations, even a face-off with an antagonist that seems overwhelming.

Here's a secret in decoding the start of a story—ask: Where does life for the protagonist change and they can no longer go on as they had been before? This will be the scene where they are confronted by the story problem (or get an inkling of the problem) and must decide to (or be forced to) tackle the problem.

Even the protagonist that decides to shun the problem eventually finds they have to step in because the consequence are too great to ignore.

********July's topic will be  - The Greatest Pronoun Reference Error





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2017 - May - Nightmares for Authors— Freudian Slips, Miscommunications, or Worse

SPECIAL ANNOUNCEMENT! 
 Revision is a Process - How to take the frustration out of self-editing is now available at Amazon.com. This paperback guidebook contains the 12-steps from the 2015 Writers Cheat Sheet Blog entries as well as more information, examples, secrets, tips, and practical advice on self-editing that can revise and polish a manuscript with less angst.  Details can be found HERE


Onward to this month's blog post —


He that has eyes to see and ears to hear may convince himself that no mortal can keep a secret. If his lips are silent, he chatters with his fingertips, betrayal oozes out of him at every pore. —Sigmund Freud



The can't-see-the-forest-for-the-trees syndrome strikes authors all the time. We are so close to our work and the creation of our fiction and fantastic stories that we are not aware of minor miscommunication between our conscious and subconscious brains that result in problems, like Freudian slips.

A Freudian slip is an involuntary word substitution that supposedly reveals something you're repressing, hiding, or simply trying not to talk about. On the plus side, such faux pas are the tools a writer can use to mangle a character's speech and add levity to the story, or at least at that point in the story.

Technically a Freudian slip is a parapraxis, which is 'big word' but it really is a minor, inadvertent memory mistake, one linked to the unconscious mind.

Such slips are even said to reveal the unconscious's secret thoughts, beliefs, wishes, and feelings. A great many Freudian slips seem to have a basis in sex drives or sexual repression. For instance, someone calls his or her spouse by an ex's name. A character, too, can do that and so that's something worth keeping in the draft if your intent is levity, or realism.

Of course, many Freudian slips lead to laughter, after all, laughter breaks the tension of the shock and embarrassment of what you realize you wrote (or said) or how you let your mind wander.

Such slips of the keyboard or pen include writing a scientific explanation between a hero who's smitten by the heroine and explaining, "The orgasm multiplies exponentially." instead of "The organisms . . . "

And while drafting a scene to a medieval romance, I once described the castle's giant fireplace as being sex men wide (instead of six men wide). I'm still trying to live that one down with my critique group.

Have you made any Freudian slips in your writing or stories? Have you found one in print? Please share one in the comments because I would love to collect a few more for my files.

*****June's topic will be Don't Start Where You Started— Start Where the Story Really Begins


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2017 - April - Break the rules?

     Spelling, grammar, and punctuation are a kind of magic; their purpose is to be invisible. If the sleight of hand works, we will not notice a comma or a quotation mark but will translate each instantly into a pause or an awareness of voice . . .  Janet Burroway (Writing Fiction)

 
Do You Really Need to Know What's 
Behind 'The Rule' Before You Break or Tweak It?





 
This is the cardinal rule:  When writing fiction, nothing must stop the reader and take them out of the enjoyment of the story. 

That's also what creates the magic in reading something written by a storyteller.

Interestingly enough, the fastest way to break the magic spell and jerk a reader out of a story is to use semicolons, colons, brackets, and adhere to the use of proper and formal grammar and punctuation.

Most of the newly self-published or independently-published writers don't realize the rules for grammar and punctuation, the rules for sentence structures, and all the other "rules" for writing they were taught do not necessarily apply to writing fiction.

Why is that?

It's because of the narrative voice coming off the page. Be that voice one of the omniscient storyteller or an actual character, that voice will have a distinct vocabulary, diction, and syntax. More importantly, that narrative voice will be highly opinionated. To impose strict rules of grammar and punctuation stilts that voice so it sound unnatural. In other words, the narrative voice has to sound true for not only spoken dialogue but also for internalizations and telepathic conversations.

This tweaking and breaking of the rules particularly applies to the deep third person POV-Viewpoint and the I-persona of the first person POV-Viewpoint. These two are where one specific voice narrates everything for the duration of the story or a scene.

I'm all for creating the magic that keeps a reader engrossed in the story, are you?

*********Next month's topic will be Nightmares for Authors— Freudian Slips, Miscommunications, or Worse

NOW OFFERING - One on one fiction writing courses like these -  
 

  

 

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2017 - March - Sensory Illusion or Delusion?

Not creating delusions is enlightenment. Bodhidharma
Read more at: https://www.brainyquote.com/quotes/keywords/delusions.html

Not creating delusions is enlightenment. Bodhidharma
Read more at: https://www.brainyquote.com/quotes/keywords/delusions.html

Not creating delusions is enlightenment. - Bodhidharma

Not creating delusions is enlightenment. Bodhidharma
Read more at: https://www.brainyquote.com/quotes/keywords/delusions.html

So you're thinking about writing a book —or are writing one. Did you know that 81% of the population thinks they have an idea for a book? As I post this, the world population total has ticked past 7,487,760,700. I was going to do the math for the 81%, but my calculator didn't have enough slots for entering a billion. So here's another figure for you—as of the fall of 2016, in the U.S. there were 4,500 books a day being added to the already 15 million out there. 

With so many books being written and self- or independently-published, how hard can it be to write a book?

The answer could depend on whether you are an optimist or a pessimist. 

It also depends on how well the left and right halves of your brain communicate. Most of the time they are at war with each other. You see, the left brain is logic and the right brain is creativity. It's also a fact that logic will always trump creativity. So, technically, neither side can write a book without the mutual cooperation of the other.

Over the years, I've concluded that most writers believe in the mysticism of their creative selves, their Muse. That it produces the magic that is a story.

Hogwash. There is no mysticism, no muse, but there is the imagination. The imagination is part and parcel of the subconscious left brain where creativity, insight, intuition, feelings, and, most importantly, non-verbal communication dwells. In other words, the imagination doesn't talk, it delivers feelings, imagery, etc., up to the conscious, logical brain. It's up to the logical mind to translate. Logic is how we make sense of everything we perceive. And that's why Logic will always trump Creativity.

And therein is created another problem. Should creativity actually produce a completed novel, logic will point out the fallacies, the unbelievableness, and grammar and syntax errors. That means countless rewrites and revision, all of which can become so overwhelming that a writer sets the work aside and moves on to another story. After all, imagineering a story is always more fun.

But the downside soon rears its head. Logic says there are problems with the tale, with the characters, with just about everything and if that tale gets published without great editing, what reader will give it a good-read rating?

The creative self might say that if everyone's turning out novels, writing a book must be easy. Yet logic whispers that writing a good book, one readers will give five-star ratings to or ones that makes best-seller status, will not be easy at all. The truth lies in the logic—talent will take you only so far, that knowledge and practice of the art and craft of fiction writing enhances and liberates creativity. Best of all, craft can be learned, resulting in a story worth a reader's purchase and enjoyment. 


So, which of your two brain halves thinks writing a novel is an illusion (considered magical by naive observers) or delusion (an erroneous belief that is held in the face of evidence to the contrary)? 

The truth lies in the logic.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
****Next month's topic is What's Behind the Rules?

☻I wonder how many reading this will get the pun of my closing line. A simple "got it" comment would be nice.

 

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2017 February -- Eye and Brain Coordination?

... The difference between the almost-right word and the right word is the difference between a lightning-bug and
lightning. — Mark Twain


Eye coordination is the ability of both eyes to work together as a team. Each eye sees a slightly different image when it gazes at or focuses on something. The brain, through a process called fusion, blends the two eye-images into one three-dimensional picture. 

Proofreading using a tablet, laptop, or computer screen is highly ineffective because those screens are pixels that move, making it doubly difficult to focus on each letter typed onto the screen, let alone an entire manuscript of words. If you must proofread on your computer, here's a tip: change the font to Courier or Courier New and zoom the text up to 125% or 130% view. Why Courier or Courier New? Because that is a non-proportional font which is extremely easy for the eyes to see each letter because the letters are the same size. Proportional fonts, like Times New Roman, cram letters together because an L is not the same width as an M, etc. 

Can you read this—

    For emaxlpe, it deson’t mttaer in waht oredr the ltteers in a wrod aepapr, the olny iprmoatnt tihng is taht the frist and lsat ltteer are in the rghit pcale. The rset can be a toatl mses and you can sitll raed it wouthit pobelrm ... S1M1L4RLY, Y0UR M1ND 15 R34D1NG 7H15 4U70M471C4LLY W17H0U7 3V3N 7H1NK1NG 4B0U7 17.
   
I'll bet you barely hiccuped skimming through the words because, you see, your brain is a code cracking machine that logically wants order and so it creates order out of misspelled words.

This code-cracking is also what happens when you've read and proofread your manuscript only to find glitches and typos went unnoticed until an editor or reader spots them.

People will tell you to become a better proofreader, as if that was all there was to it. Proofreading is an essential in any writer's or author's toolkit. Only gaining mastery of proofreading isn't easy because first you have to recognize it's a skill— one that can be learned.

Secondly, in order to stop the mind from code-cracking and skimming over words, you have to slow down and look at each word, get your eyes to focus, and give your eyes time to look at EVERY word, comprehend its meaning, and then move on to the next word. Which means, the best and most productive way to proofread is going to be with hard copy.

Of course there are tricks to slowing the eye-mind mangling. They are:

Trick #1 -  begin at the bottom right of the page and read to the left before going UP to the next line and going from right to left (and doing so all the way up to the top of the page).

Trick #2 - Using two rulers or two pieces of white paper, place one tool above and the other under a sentence. This will single out the words and cut down the clutter of letters so the eyes can focus on individual words. Do one sentence at a time and move your tools down the page, sentence by sentence.

Trick #3 - Using your word processing program, find the end of every sentence's punctuation and return carriage three times. This separates the sentences and allows for better focus on the words. This method will also showcase long sentences as well as verifying you have a variety of sentence lengths (which is a good thing).
Try all three methods to find one that works best for you. Yes, these methods take time, but the result will be well worth the effort.

Then keep in mind:

1. Concentration is key - Proofreading requires concentration, patience, and time. Prepare mentally. Ensure that you are not tired, rushed, or distracted. Get rid of distractions and potential interruptions. (Switch off the cell phone, turn off the television, or radio, and stay away from emails.)

2. Run a hard copy and read it out loud. Reading out loud means you can listen and hear errors your eyes miss.

3. Trust no word. Read each word of text, each sentence, and each paragraph slowly and carefully. Take nothing for granted. Watch for small word errors, like an, and, of, form/from, is, it, the. These are easy to miss, but more often then not, those words are actually missing from the text and need to be inserted.

4. Double-check numbers. Are you following AP (Associated Press, journalism style) or the Chicago Manual of Style (which publishers of fiction use)? If writing fiction, and with only a very few exceptions, all numbers are written as words. That's because a reader is reading and creating a movie in their mind.

5. Take regular breaks to avoid fatigue and eye strain. Don't rush. Allow twenty minutes or more of a break to give your eyes a rest.

6. Proofread more than once. Allow a day or more before going back through a short story manuscript that you've just proofread. A surprising number of errors can be found in the second (or third) pass. For novel length, it may take a week or more before the story fades enough to proofread.

7. Have a list of specifics you need to look for. In other words, use a Revision Cheat Sheet. This will help you manage your time and not feel overwhelmed by proofreading. And do look for one type of problem at a time.

8. Trust a good dictionary. The fluidity of the language means new words get added and words that were once hyphenated no longer are.

One final comment. There are proofreading sites online and most word processing programs have grammar and spell checkers, but if you trust them, you're shooting yourself in the foot. For example, it is:
   
    a SASE (a self-addressed, stamped envelope)
    a history lesson

Not:

    an SASE (an self-addressed, stamped envelope)
    an history lesson
   
To be a great storyteller means getting the eyes and brain working as a team so every word that you put on the page is the correct one.

 ****Next month's topic is Sensory Delusion


Available Spring 2017- REVISION IS A PROCESS


Available now - TERRIFIC TITLES

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2017 January - Four Major Bloopers and Blunders to Avoid

    "The only thing you own are the skills in your hands and the knowledge in your mind." – Mac Slavo

 

    This year the Writers Cheat Sheet blog returns to first-of-the-month topics. We begin the year with discussing four major bloopers and blunders. 

Some people think bloopers and blunders are the same thing, but there is a difference:

      — A blooper is an embarrassing mistake.

      — A blunder is to commit a faux pas or make a serious mistake or be clumsy.

For a writer, and in addition to the usual typos, grammar glitches, and punctuation pitfalls, blunders also include heavy-handed prose, going off on tangents, pontificating, and other elements that turn readers off.

Unless you're a genius of a writer and storyteller, who turns out a perfect manuscript the first try, most first drafts are riddled with an assortment of bloopers and blunders. What I'm about to address is not the nitpicking stuff but major bloopers and blunders that have to do with basic techniques and devices of great fiction. Devices and techniques that are not taught in schools. A few writers learn fiction techniques and devices by osmosis because they are extremely avid readers. Other writers learn such skills by studying and taking courses on how to write good fiction.

Over the years, I've accumulated a list of sixteen craft blunders and bloopers, which appear in the manuscripts of contest entries and the work of novices and self-published writers. I have also made this "C.E.McLean-16 Bloopers & Blunders List" into a free Writers Cheat Sheet, which is available HERE

Of those sixteen items, four top my list as chronic. It's not a matter of reading about the craft skills, it's a matter of understanding and mastering them that will set a work apart from everyone else's in the e-universe and the realms of publishing. The four are:

        1) Point of View (POV) and Viewpoint
        2) Show, Don't Tell
        3) Cause-Effect Sequences
        4) Dialogue (both internal and spoken, plus dialogue mechanics)

Why is POV-Viewpoint number one? Because 90% of the story depends on who is narrating.

Notice I did not say first-person, second-person, or third-person narration. Those are pronouns. Keep in mind that the voice coming up off the page, the voice a reader hears, is the true storyteller of a tale. For example, as you read this post, you hear my voice in your mind. It's one distinct voice. It's not a hodgepodge or a mix of viewpoints. Believe it or not, for readers, the simply told tale works best. Which means a writer must pick and adhere to using an effective narrator to tell the tale.

Next on the list is Show, Don't Tell. POV-Viewpoint affects all aspects of show-don't-tell. In the majority of reader-favored stories, showing is preferred over telling. Showing allows for high emotions and high drama. It allows for a vividness that helps create a motion picture in the readers mind as the reader reads. It's the difference between writing "dog" and "Doberman."

However, most writers' schooling is about "telling" and "reporting" which enables them to communicate in the world. It's not about writing quality fiction.

Of course, POV-Viewpoint that shows means the narrator, that voice coming up and off a page, the voice the reader hears in their mind, is the witness who observers and who draws conclusions based on their background and experiences in life. They will, in their own vocabulary, diction, and syntax, relate the tale with their highly biased and opinionated view of what transpires.

As to number three on my list, Cause-and-Effect Sequences, that's as hard a subject to grasp as POV-Viewpoint. But there is one "red-flag" word that should be looked for when self-editing a work. That word is "as" and especially when it leads a clause at or near the end of a sentence. Nine times out of ten, that "as" indicates a reversed or skewed cause-effect. For example—

    The icy wind lashed his faced and whipped through his hair as it blew in from the chilly Arctic Sea.
Yes, there's more than just a cause-effect error here. There's also a pronoun reference error with "it" that adds confusion. Since a pronoun refers back to the last used noun, here "it" refers to "his hair." This means "his hair" blew in from the chilly Arctic Sea.

In the correct sequence of cause-effect, and correcting the pronoun reference error to provide the reader with instant clarity, here are two examples of how the sentence might be re-written, and which eliminates "as" altogether—

    1) The icy wind, blowing in from the frigid Arctic Sea, lashed his face and whipped through his hair.

    2) Blowing in from the frigid Arctic Sea, the icy wind lashed his face and whipped through his hair.
Which is best? That will depend on the overall POV-Viewpoint chosen for the entire tale.

And, lastly, number four on the list is Dialogue. The most prevalent problem with writing dialogue is that the rules of grammar and punctuation do not necessarily apply.

It doesn't matter if the words are spoken out loud, thought internally, or even heard or voiced telepathically. Why? Because for a reader to believe the dialogue, that dialogue must sound as if it would have been spoken by a real person. 

It's been said a thousand times that one of the quickest ways to destroy a character's voice and credibility is to adhere to strict rules of grammar and punctuation. That's why writers must master writing Standard Written Dialogue and utilizing the best Dialogue Mechanics to "show" not tell how the words are thought or spoken.

One of my favorite examples of destroying a character's voice comes from a short story I wrote years ago where my starship captain heard "farting" biotubes. A steeped-in-proper-English editor wanted to change farting to the "flatulence." I'd like to hear Captain Kirk of the starship Enterprise say flatulent bio tubes, wouldn't you? Then again flatulence also means "pompously embellished language."

Knowledge is power. When you learn the techniques and devices of writing quality fiction, you gain the knowledge to write well and tell a story well—and go from being just another writer to becoming a competent—even great—storyteller.

Learn fiction writing techniques and devices and you will own the knowledge. Then you will have the power that enchants readers.

***Next month's topic will be "Eye and Brain Coordination?"


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Structured Creativity Liberates

 October, November, and December 2016


 

Imagination and creativity may be the source of tales, but without a logical way to present the story, the reader won't buy the book and the reader won't be able to suspend their disbelief in a fictional or fantastic world.

It's a fact that logic and creativity are at odds with each other. It's also a fact that logic will always trump creativity.

I believe writers should stop the battle between logic and creativity. The two can work together. The two can become a system that works to structure creativity and produce work in a timely fashion, which nets the writer less frustration.

One of the tools of structuring creativity is the development and use of cheat sheets. Such cheat sheets take the form of forms, lists, questions, and reminders. Reminders can be instructions to do this and not to do that. Reminders can be material taken from online or how-to book sources (sort of refreshing both the logical mind and the subconscious).

Ideally, such forms, such cheat sheets, will add just enough structure to avoid countless rewrites, going off on tangents, and ending up with a story that fizzles.

When drafting a story, most writers put down the first thing that comes to mind, which invariably turns out to not fit the story or scene or character. Once the writer realizes the problem, or has a critique partner point out the problem, the writer quits the tale. Why? Because they don't know how to fix the problem or it's just too much trouble to go back and make changes.

So, if you're finally frustrated with story ideas that dwindle to oblivion or minor characters taking over the story, or the story hanging a hard left turn into a corner, or you hate rewriting ad infinitum, then consider structuring your creativity.

One example of a cheat sheet that will prevent a secondary character from taking over the story is a "Master Character Work Sheet." This master form will be used solely for the story's protagonist, antagonist, and if you have one, the Second Major Character who is usually the Romantic Lead.

This master sheet can take whatever form you need. It might be a questionnaire or interview sheet or a list of key questions to get at the core of the characters values and morals. Those questions also cover appearance, family history, work history, education, likes and dislikes, and the way the character thinks and acts. No other character in the story gets such scrutiny or attention except the three main characters.

Best of all, you get to know those main characters and how they are alike and opposite. You'll discover what buttons to push to drive them and the plot and the story. You may also discover the theme of the story and realize the inevitable resolution. All of this done before writing that first draft. All of this done without wasting words or rewriting. And when you do write the draft, it will be so much better. And don't forget, there will always be rewrites because only a genius could turn out a perfect manuscript from the get-go.

Someone will say structuring creativity and creating forms is time consuming. They'd rather write and find out as they go. Okay, then as you finish your day's writing, post what you learned to your character worksheets and other forms or lists. That way you'll prevent contradictions and inaccuracies.

Keep in mind that all story worksheets must be tailored for you because no two minds create alike.

Although I discourage people from using online and forms in how-to books on writing, there is nothing wrong with picking out salient points and questions to form your own work sheets.

Lastly, every producing writer has a process. The definition of "process" is: a particular course of action intended to achieve a result.

If you want to write more fluidly, turn out completed stories that readers will enjoy, then consider how liberating it will be to have forms to keep you on track and which help you create twists and turns in a plot that will wow readers.

For a list of 2017 Topics, go to: http://www.writerscheatsheets.com/blog-schedules.html

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3 Biggest Mistakes New Writers Make

for JULY, AUGUST, SEPTEMBER 2016


There are lists published on the Internet and in many how-to write fiction books stating the biggest mistakes new writers make. Some lists deal with storytelling, others craft elements, and others are wish lists by editors and agents on what mistakes they wish novice writers would stop making.

I have my own lists, but in this blog post, I want to address the three things I see as handicapping new writers and the self-published writer. They are:

1) Illusion vs. Reality.  The illusion— just because a writer got A's in English or praised for their writing in school, that qualifies them to write and publish their work without needed input from editors or beta readers or even other, more experienced writers and authors.

The reality is this— becoming a storyteller, not just the average writer, means finding out and learning precisely what the rules and guidelines are for writing fiction that sells.

Here's another reality check— By my last count, there are one hundred and forty-four (144) aspects to writing good fiction and telling a story well. How many do you know? How many have you mastered until they appear naturally a you write?

Another reality— too many writers would rather write then learn fiction techniques and devices. Yet, here's the thing— talent will take a writer only so far. It is craft that enhances talent and liberates creativity. Best of all, craft can be learned.

Oh, right, the reality— Learning is not fun, it's hard work. Writing is the fun stuff. Look at it this way: if you wanted to learn to swim, would you go and jump into the deep end of a pool?

Not a good idea you say? Well, you're right. You're more likely to drown then learn to swim. Instead, you would start in the shallow end of the pool with people who know how to swim and who would coach you, or you would take lessons from professionals at the pool's facility. You'd start off learning to float, advance to swim strokes, and if you really liked swimming and were good at it, you would take more lessons to learn breaststrokes and butterfly strokes. In other words, your talent for swimming would be boosted tremendously. Why, you might even be good enough to swim with the big guys in the Olympics.

As a writer, it's the same thing. Don't jump into the pool of writing, floundering, drowning in the sea of millions of other writers publishing on the Internet.

Here's another reality check, a statistic. A few months ago I came across a statement that 4,500 books are added EACH DAY to the 15 million already out there. How is your book going to stand out? I likely won't unless it is a well told and well written story that appeals to readers.

So, make it your mission to become that special someone who has mastered fiction writing to become a true storyteller. Be that special someone who can grab and hold a reader's attention and take them on a fantastic journey.


2)Failure to understand what a story is and where a story actually starts.  In a nutshell, a well-told story is about an interesting character in an interesting setting, facing an interesting problem. That interesting character is, of course, the protagonist and by the end of the tale he or she has solved the problem and learned a life-lesson or have achieved something valuable.

Unfortunately, it's not easy to get to the point of a story (the plot's theme). Stories tend to come in bits and pieces, what-ifs, and so on. There's figuring out the setting, who's who in the story, ad infinitum.

Rarely are the first words written down the beginning of the story. In actuality (the reality), ninety-percent of what the writer knows won't go into the story. That's right, only ten percent of all that information a writer has to know to figure out the story ends up being what is necessary for the reader to know to enjoy the story.

However, the story can't be distilled and knitted into a tale worth a reader's hard earned money without the writer's explorations into plot and extrapolations of characters.

Think of it this way— writing is like looking at an iceberg. Ten percent floats above the sea. The ninety percent below sea level supports the visible. 

Or, you might think of it as the writer writes a snowstorm of words but a storyteller is master of sculpting that snow, compacting it, into brilliant worlds of wonder and awe.


3) Failure to join a writer's group before attempting to publish (be that traditionally, self-publish or independently published) and to understand the quality of fiction writing needed for a story to appeal to readers (including editors and agents).

The reality is that only another writer knows what a writer goes through from the idea that sparks a story to the finished, camera-ready or digital-ready copy. In the current publishing world, it's also necessary that writers market their own work, regardless of who publishes the book.

And again, drawing on the analogy of learning to swim from earlier in this post— it's a lot easier to learn to swim with others who are learning and from those that have already mastered how to swim.

In addition to joining a writer's group, a writer can teach themselves about the various aspects of a novel or short story. However, to test that knowledge or to figure out the full impact of an aspect, it helps to know people who have successfully used it, understand the pros and cons of it, and why and how to tweak the "guidelines" or "rules" because there is a valid reason to do so.

Another reality check— a writer should be a voracious reader. This helps avoid cliched or tropes that are unsalable.

In addition, reading helps learn things by osmosis. That is, by reading good storytelling, the subconscious mind better understands the underpinnings of a story or a character's arc (even if the conscious mind doesn't).

Another aspect is to fully understand that words have weight, connotation, denotation, and a sound. There are even degrees, like pique is not the same thing as wrath (the two are extremes of anger). Same for love, hate, etc. In other words, a storyteller is a wordsmith.


Some reading this will keep their blinders on because the fantasy of writing and creating is what gives them a life-high. Reality burst such bubbles. And yet, reality is the key to success. Learning can be fun. And nothing beats the fireworks-burst of joy when readers crave your stories.

***********
NEXT UPDATE TO THIS BLOG: October 1 —  Structured Creativity Liberates 

 Click on the logo to get FREE Cheat Sheets for - 

What is Story?

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