~Imagination in Flight – Captured in Print~

Letting Go

by Ruth L Brown  Nov 2005

Despite the desire to have writing as a singular profession that pays the bills, this goal often eludes many of us for various reasons. Those reasons can run the gamut from unwillingness to put forth the time, effort and money necessary in any career endeavor to simply not having broken through the industry barriers we all face. Somewhere along that range, part-time writers can pinpoint where they are if they really try.

For now, let's focus on unwillingness. Unwillingness-a strong word-can be conscious or subconscious or both. Very few of us have a spouse or anyone else willing or even able to support us fully while we pursue a career that takes a great deal of time to bring income to the household. Therefore, juggling one job while in pursuit of another is a common situation. Many writers never reach the point of dropping the first non-writing career.

This “letting go” is extremely stressful, especially if the income from job one is lucrative. Remember climbing a tree as a child and you couldn't reach the next limb without releasing the one you had a death grip on? The fear of falling is real! Job hunting in today's economy is so grueling, we are doubly afraid to walk away from the one we have. Faced with climbing higher and maybe falling and suffering the consequences, it is no wonder there are so few authors that make that leap.

One of the biggest factors in making that decision is determination. What is the mindset on the ground? Are you already anticipating falling or are you excited to reach the top? Not reaching for the next limb on your writing career is often a decision based on determination.

If you are happy where you are then stay there. No one can tell you whether you should leap or hold on. That's up to you. If you find yourself complaining, however, wishing to go higher, then you should work toward making the leap. Get yourself in shape, build your writing muscles and go for it. Maybe you fall a little. Maybe you fall a lot! Whatever happens, you have to face that challenge, recover and keep trying. It certainly is more exciting than staying safe on the ground.

Sabotage

by Ruth L Brown  Jan 2006

We all know about sabotage; sabotage from a spouse by ruining dieting efforts or a jealous friend or co-worker for example. The worse kind of this type of betrayal comes from the sources closest to us. Do you know a saboteur? I bet you do, but have you ever considered naming yourself? Some of us already recognize we are our own worse enemy, but for those of you in denial, read on.

A brief list to determine if you are indeed a saboteur:

• dusty manuscripts on the floor somewhere in your house that you haven't submitted
• planning conflicting events to your writing chapter's monthly meeting so no one can hold you accountable
• bumping your designated writing time for any other task
• having no designated time at all
• expending creative time and energy in preparation to write instead of writing
• failing to submit a requested manuscript in a timely manner
• failing to develop a pitch and practice it
• refusal to allow a critique of your work
• refusal to acknowledge good points of a critique
• not ever pushing past the “what now?” point in your manuscript
• talking about it instead of doing it

Are you getting it here? If you have/do any of those or a dozen more points I could make, you are a saboteur.

Sabotage Salvation

by Ruth L Brown  Feb 2006

Just like we must be firm, maybe step on a few toes or confront someone sabotaging our efforts to betterment, we must thwart our own subconscious tactics to sabotage the desired author career.

In a previous article, I listed a few points to help a writer in denial recognize that he/she is a saboteur. Here is a list of salvaging acts we can do to get on track.

• Quit hiding your manuscript.  Submit!
• Seek critique and listen with an open mind.
• Write down reasonable writing goals with a time frame and share.
• Set up a “ready now” writing nook.  Once set up, the most you should need to do is turn on the computer.  Limit snack/drink fetching to no more than 5 minutes.
• Attend chapter meetings for a support boost and discuss your progress.
• Designate writing time and log your hours.  Reward yourself when you reach milestones; a great hook, chapter completion, manuscript completion, a mailed query, etc.

Whatever barriers you place in your way, you can remove them. Recognize what you might be doing to sabotage your writing career, fix it and write!

But My Mother Might Read It!

by Ruth L Brown  Dec 2005

Personally, I find the threat of my work being read by my mother and her frowning at too much graphic or demoralizing content to be a huge factor in my writing. I suspect a great number, if not a majority, of writers can relate. So, what do we do? There are two and only two solutions in my humble opinion.

1. You hope your mother doesn't read it or you follow the rule of “It's easier to get forgiveness than permission.” OR
2. You write according to your mother's standards.

For writers in category one, march on! If you wish to write something that might scandalize your mother and make her cringe in shame, that's your decision and right. I think taking the bull by the horns, giving a warning if needed and standing your ground as an adult is meritorious.

Does that mean writers in category two are suppressed artists or wimps? Absolutely not! If a writer feels unduly hindered by the “make Momma proud” factor, then the writer must adhere to this feeling. Why do I say that? I say that because otherwise this writer will end up writing nothing at all! The challenge for this writer is satisfying the need to please someone else against the need to write a piece she feels is worthy.

In the romance genre and many other genres, there is a market for both categories. Writers in category two can actually strengthen their writing by digging down deeper and becoming more creative within a set of parameters. Romance writers already follow guidelines set forth by many publishers, so this is no different.

If you know you are geared to be a category two writer despite efforts to overcome, quit stressing. Write what you are comfortable with and if that includes a mother meter, that's okay. Perhaps you will wake up one morning and discover you are in category one.

The Mystique of Writing

by Ruth L Brown  March 2006

I've been busy with the promotion side of writing and implementing a few business practices that hopefully lend an air of professionalism. Two such things are getting a post office box and business cards. I mentioned to the postal clerk that I was getting the box for my writing career. I got the same reaction from him as I do from other “lay” people; raised eyebrows. Sometimes people say “oh really?” or they ask if I have a book or what type stories I write. I love it when they do that.

I love the mystique of writing. To the person that has never written a story, a writer seems like a fascinating individual. Most don't know the difference between a writer and an author though I do tell them I am not an author yet with the stress on 'yet'.

I know what they are thinking because I wasn't always involved in this business. I wondered if a writer traveled to great places doing research. I imagined an interesting life one must surely live to come up with plots and all the nuances that charm a reader and hook them.

For me, this mystique is still a reason to write. For a moment, I do get to travel to romantic places and live vicariously through my characters. I'm excited to talk about it to the person that says “oh really?” That little thrill makes all the work worthwhile.

Act Like a Parisian

by Ruth L Brown  May 2006

I had the opportunity to visit France twice while living overseas. Two snippets of advice helped tremendously. Use French, and when attempting to cross the street in Paris, pretend to step out without looking at the cars so they will stop for you. I did say pretend here. Don't go to Paris and step out in front of cars.

We've all heard how rude the French are, but I think it has more to do with them not wishing to deal with us when we make no effort to assimilate. I learned a smidgen of French so I could greet people, secure rooms, order off menus and ask questions in the native tongue. The French were very accommodating when I did that and even spoke to me in English when I struggled. Though a little scary, the traffic trick worked like a charm as well.

In the publishing world, writers are like tourists in France. If we don't learn the language and nuances, editors and agents don't want to mess with us. They have plenty of other savvy travelers that speak their language and know the rules. It would behoove a writer to study the industry, their target markets and read guidelines. A guideline is nothing more than an advertising brochure. “Here's what we want. If you have something like that, come for a visit.”

So, there is the advice I'm following for getting along on my writing trip. Talk like a Parisian. Walk like a Parisian. Be a Parisian.

Thinking About Elephants

by Ruth L Brown  June 2006

I've been reading a lot lately about the timeframe for publishing a book; writing, submitting, acceptance and printing. Typically, it can take one to two years for any single part of the process of getting a book from the writer's mental creation to the reader's hands. To put that in prospective, I tried to imagine other things that take two years. Elephants! The gestational period for an elephant is around twenty-two months. Wow!

That's what I used to think as a kid watching Mutual of Omaha's Wild Kingdom. Now that I've gone through the birthing process myself, I'm happy that humans are different. It still fascinates me, but really... almost two years? How incredibly long is that? Talk about being a starving artist if you don't have a day job.

I've read all this before and I realize it isn't a quick thing to be published no matter how badly a newbie might hope that her situation is different. There are exceptions, such as when publishers are scrambling to be the first out with a hot topic book on a high profile murder case. Have you ever noticed how fast those come out? Well, I don't write that stuff, so I'm stuck in the slow lane on the publishing interstate.

There are things I can do to speed up the process. I can write as fast as I'm capable, start a new one as soon as one's in the hopper, and not waste time getting queries in the mail. I'm bad about that last part. Either way, I can do my best to make sure the time lag isn't on my end. And patience. Let's not forget that virtue. Lots and lots of patience.

Throwaway People

by Ruth L Brown  April 2006

You know the type, people in your life that don't really contribute to your life story. If you took them out of the picture, it wouldn't change a thing. That's a rather harsh sentiment, but the fact remains.

Do you have characters in your fiction writing like that? They don't contribute to the story, they are just simply there, loitering on the pages, taking up space and adding to your word count. You have a choice. Delete them or give them a job.

We are all familiar with the poor character that simply exists to die somewhere along the way. The reader feels a little sad sometimes, but not shocked. Maybe you could make him a little more important, so the reader feels more emotionally attached. Perhaps one can be turned into a perfectly insidious antagonist or a co-conspirator trying to bring about the downfall of your hero or heroine. I especially love the villain that seems like a good guy to the protagonist.

If you can't ramp up this character, then give him the pink slip. You don't even have to pay unemployment tax or worry about unions. Hit the road, Jack! Delete, delete, delete. By putting the extraneous character that isn't integral to the story to rest you will not only free up space to better develop the characters you do keep, but also have a more readable and sellable manuscript.

Brutal Friends

by Ruth L Brown  November 2006

A writer friend commented recently about a new critique partner that slaughtered her manuscript and she was buried in revisions trying to clean it up. I'm sure, at first, she was disappointed, but rather than resist and complain, she stepped up to the plate and used the critique to make her writing better.

Every writer needs a brutal friend, someone knowledgeable and willing to tell one the truth. I'm a point-blank reviewer, so in turn I'm prepared for my own work to be scrutinized, doused with red ink, wrung out and hung up or even thrown out as pure rubbish. I have that not-so-sweet reader that doesn't sugar coat it and I pay close attention so my writing can continue to improve. I no longer expect fluff mixed in with the meat of what this person is trying to convey to me. It actually saves a lot of time to get straight to it.

I do believe critiques can be delivered in a kind manner, but I'm not convinced a flowery delicate comment is given the same weight as a stinging bullet. A writer tends to remember those. That's not to say having one's manuscript sandblasted is necessary, but it is worthwhile to put on a thick skin and get over taking critiques personally. Read them, discuss them if possible, evaluate the merit and revise the manuscript. Only our fictional characters are allowed rose colored glasses.

The Writing Career - Yin and Yang (Part I)

by Ruth L Brown  August 2006

There are two elements to being a writer that I find appealing: creativity and control. As I was enjoying thinking about this, reality kept coming up to cloud my daydreaming. I began to weigh the good and the bad. Do I really want to do this? Is it worth it? It is.

I believe humans have an instinctive need to be creative. We have a need to affect our surrounding environment in some form that pleases one or more of our senses. Painting a scene or painting a wall fulfills a need, as does experimental cooking or planting beautiful aromatic flowers. When resources are limited, stories allow us to be transported to a new place within our minds. Developing characters, plotting their course and pulling it all together into written cohesive words is very creative.

It isn't enough to simply write a story. We must also share it. Our creative endeavor will not reward us with maximum pleasure if we do not open it up for perusal. This interaction is crucial. An artist might express that he doesn't care what others think of his painting, but that's not true. Why show it to anyone or put it in a gallery? Satisfaction and feeling worthy will not be felt as deeply if we don't receive a stamp of approval. We want to be appreciated and recognized for creating something unique.

That's all great and essential, but so is the reality of our creative expression. Many people stand in front of a painting and wish they had such talent. It's not just talent. They often don't consider the hours of training involved and the inevitable frustrations that come when creative energy is low. Creativity isn't packaged up and sold at the store. There are also frustrations from having restraints put on us so the work is tailored to suit someone else. Rewrites, revisions, whatever you wish to call it, are necessary to having a writing career. It's not evil. It just is.

In seeking that stamp of approval, we wait weeks or months with our fingers crossed only to be rejected. When an editor or agent says something doesn't fit their agenda, or our work didn't final in a contest, we personally feel rejected. The hoped for reward has turned into a crushed feeling of defeat. Logic says that only our story was rejected, that it needs a little work and possibly it might be a perfect fit for another publishing house, but for a while, rejection just smarts. The creative side was dealt a blow and it might take days or weeks or even longer to revive it.

Is that what I want? Yes, of course! I want to be creative and share. Writing is that outlet for me. Though difficult to take at times, rejection is a key to improvement. Each time my work doesn't pass muster, I gather tidbits of knowledge that take me over a hurdle the next time. It isn't good versus bad, but more yin and yang. With creativity addressed, I moved on to control, an attractive yet daunting aspect of writing. Be watching for my article on control coming soon.

The Writing Career - Yin and Yang (Part II)

by Ruth L Brown  September 2006

Everyone that aspires to sell their writing finds something appealing about the process or they wouldn't do it. Two basic elements appeal to me personally: creativity and control. In a previous article, I went over the yin and yang points of the creativity portion as it relates to me. If you missed that article, you can find it on my website listed at the end of this article.

The desire for control boils down to survival. I want to safeguard everything that is mine, to include my family and my assets. From the beginning of man's existence, this has been a true need for humans. We hunt, gather, build and put down roots to establish our place and keep it. Beyond survival, we are creatures that measure and compare everything. We're not content to have the basic necessities that get us to tomorrow. The more we can control, the more we can achieve, the bigger we are, and the more we can gather. It's a way of proving to ourselves that we are better than the next guy. Serious writers have an urge to be the boss. It seems wonderful to rule the roost, to create something and sell it by our own power. The possibilities are endless.

Another reason for desiring control is we learn to be self-reliant through trial and error. Sometimes we have to wrestle away control from our parents so we can grow into adults. It feels good to be assured we can affect changes to our environment and we're not helpless. Every little success reinforces our confidence and makes us stronger. Forming a plan of attack for our career helps us stay on track and prove to ourselves and others we mean business.

Sometimes, though, we don't know what we are doing and we need help. There is always someone out there that does it better and faster, someone we can learn from, yet stubbornness prevents us from consulting or deferring power to another. No business will survive long without outside factors coming into play. We may write the story, but if we want income from it, cooperation from others is necessary.

Too much self-reliance can be disastrous when something goes wrong. We may topple over without a support system. There is also the risk of becoming out of touch with the real world. A writer needs interaction with other people. Not only will we miss out on some pleasant surprises if we try to contain and protect our world too much, but our writing will lack the richness that can only be gained by negotiating our way through the give and take experience that is humanity.

There is a healthy balance to a writing career. It is not all ups or downs. Writing flows like a river. There are serene pools as well as rapids. I'm enjoying being creative and working toward a career that puts me in the driver's seat, but I'm aware of the yin and yang parts that round it out. One cannot exist without the other. It's all good.

Backward Progress

by Ruth L Brown  December 2006

Sometimes it feels like I'm moving in the wrong direction. I shot out of the gate mentally more determined than ever to make writing work. I've had a few spurts in the past of feverishly writing, sending out rotten queries, going to conferences, and then watching my enthusiasm and hope die as nothing significant began happening quickly. That's not good.

This time I did manage to come at it hard enough to fling myself beyond the previous mental barriers. Joining a writers' group and volunteering to be treasurer guaranteed my participation and I scrounged to find a rejection letter so I could get a nice boost from receiving a PRO pin. I dove into promotion by learning about websites and by writing articles. It's a lot of fun.

So what's the problem?

The problem is all the materials, books, articles, critiques, confusing contest judgments and my own realization telling me that I have much to learn. I'm not where I thought I was. I am mature enough to recognize this slow revelation as a great step forward, but it feels like a step back.

The trick is to squelch my tendency to stop writing so I can study everything. I need to study and write together in tandem. My outlook should expand to include acknowledging achievements, however small, so my excitement remains strong. Excitement begets energy which propels me to be creative. Creativity will land me at the computer typing and my study efforts will alert me when I've gone off the wrong way.

Like planets in retrograde motion give the illusion of moving backward on their orbits, the multiple elements that make up a writing career may appear to be moving counter to progress. Fortunately, all the parts are heading forward at varying speeds and the time I spend on each is not wasted.

Bad Hair Days

by Ruth L Brown  June 2007

Some mornings I open the closet door and what I expected to wear isn't there or worse, I have no clue what I'm going to wear. On weekdays, I have about two minutes to make a decision, right or wrong, and march on.

Other mornings I wake up to a bad hair day. No matter what I try, it looks awful and each extra procedure contributes to the hideousness. Combine a bad hair day with nothing to wear; I'm thinking the entire day might be better skipped. I wish!

On just such a day recently, it dawned on me that this scenario is so much like writing, I had to laugh. Many times I've stared at the computer screen drawing a blank. The mistake of forcing my writing is familiar, too. There are certainly plenty of days I want to give up and not write at all.

I've learned to recognize when the story goes off track before spending precious time attempting to make it right only to come to the conclusion it isn't workable. That's so painful. As soon as that bad-hair-day feeling comes over me, I'm searching hard for the last part I felt good about and I delete absolutely everything I don't like from that point forward even if it's a massive sweep.

It's often a good idea to browse through my notes to help me focus on the horizon of my story. Simply picking a different scene to work on may be warranted. Taking pen and paper to somewhere inspiring to rethink is needed if I'm having too many bad-hair-days on a particular WIP. Sometimes, I do have to abandon writing altogether and concentrate on whatever distraction is eating at my thoughts. There is always a solution that allows me to make a decision and march on.

Cars, Boats, Planes and Trains

by Ruth L Brown  August 2007

Okay, I left off buses, trucks, horses and walking, but the point is there are many forms of transportation for getting from point A to point B. Cost, speed and convenience are a few factors that determine what mode of transport is used. Even psychological factors might play a role if one is afraid of flying for example.

It's not much different for the writer. How a writer chooses to get from the state of being unpublished to being published and beyond is a personal decision. The process also goes beyond choices to how well a writer executes those choices. Some writers don't mind a scramble at the last moment. Other writers will meticulously plan each detail and anticipate every problem. The crucial thing to understand is that neither approach is wrong or perfect. The best laid plan can fall apart and a haphazard mess can sort itself out. Luck is the uncontrollable element that's worth another article by itself. A writer can ask ten authors a career question and get ten different answers.

Some writers aren't going to concern themselves with promotion until they are published. Some writers don't want a critique partner, won't join a group and refuse to read any reference books. They don't see any benefit to these measures and for them there is no benefit. Resistance to ideas cannot be ignored. Attitude is key to any venture's success, so it's a waste of time and money to undertake a task one has no passion for.

For me, it is important to maintain an open mind to ideas presented by someone with more experience, to evaluate the merit and how well I can execute that idea. As I work on my vision plan, it is also important to stave off doubts when someone's negative comments threaten to neutralize confidence in my research. Another's mode of transport may look like a rocket ship compared to mine. Maybe those will get there faster or it's possible I'll be helping them out of the wreckage when it crashes. I don't know.

I do know I have to follow what makes sense to me. I can only execute a plan I understand and feel passionate about. I must also be willing to give it time to work. My vision plan belongs to me. It has my name on it and success or failure rests solely on my shoulders. It isn't a race with other writers. It's a journey of my own.

Answer Me This

by Ruth L Brown  April 2007

I've had the opportunity to read portions of a few manuscripts. Some I asked or agreed to read, some were pushed on me and some came in under the radar imbedded in communication. Serious writers are starved for feedback. Writers not looking for feedback are hobby writers or very naive in my opinion and this article has nothing to do with them.

Reading drafts and commenting takes precious time. I usually enjoy reading a few pages of someone's work. I'm happy to share what I know and debate points during a discussion. A back and forth exchange of ideas, viewpoints and knowledge is exciting. It stimulates me as a writer and gives an opportunity to reciprocate. The exchange is better if our strengths and weaknesses are different.

At times this process goes afoul. There is no exchange or a writer's ego becomes bruised, and so forth. To avoid the problem in the future I've tried to recognize the pathway leading to destruction. Here's a little questionnaire to help me decide whether to engage in this risky activity with a writer whose work is unknown.

• What fiction book are you reading?
• What craft book are you studying?
• What craft books can you recommend?
• What did you think of the last workshop you attended?
• What market are you targeting?
• What did you think of the guidelines?
• How's it coming with your writing group?
• What did you think of the last critique you received?
• What are the weak areas of your writing?

It isn't necessary to ask each question, but have them in your head to guide conversation so a writer reveals this information candidly. The attitude of a writer to these points should determine whether an exchange will be beneficial. Is a writer stubborn and closed or open and eager? How did she respond to criticism? Is she still speaking to that person? Does she show respect for the effort? Does she have any knowledge to impart from her homework or is she a sponge with nothing to give back?

Ask yourself these questions. A writer has a responsibility to the craft and to her readers, present and future. Be prepared to share, to make educated comments, to be enthused regarding another's work. Don't ask of others what you aren't willing to do for them.

You Still Writing?

by Ruth L Brown  September 2007

I wish I could write down in a log all the questions posed to me by people who know I write. The most recent one, the title of this article, garnered an emphatic yes and I added that all my free time is spent writing. Granted I exaggerated. What I didn't anticipate at the time is how long this simple question has lingered on my mind.

I wonder why the question was asked. Was it merely conversational? Have I done or said something to prompt such a question? Have I not shared my website address, given this person my business card, talked about my RWA chapter events, discussed conferences and the books I'm reading to enhance my writing? Is talking about writing 24/7 not enough? Okay, that's an exaggeration, too, but I'm on a roll now.

I moved on to more negative thoughts. Perhaps it is expected that I would have a book on a shelf in the bookstore by now. It's been over a couple of years since I began sharing this dream more openly and taking determined steps to make it happen. I didn't mention the many years I've been writing and throwing out stories, having no faith in pursuing the dream of being an author. To the non-writer, uneducated in the process, two years is a long time and they might be thinking I quit. Two years is a long time to me, too, but I know the deal. Maybe that's the problem. Maybe I feel I'm being judged for having nothing concrete to show for my efforts.

Whatever sparked the question doesn't matter. It doesn't matter that I'm obsessing over the question and analyzing the meaning until I've picked it apart thoroughly and still have no answer. It's my thing. What matters is what I'm doing, not what is perceived by others. If it takes the magical ten years or longer to be an author, so be it. I'll be writing until I'm unable to pick up a pencil or punch a keyboard or dictate to a machine. So the short answer is, YES, my friend, I'm still writing.

A Teaching Heart

by Ruth L Brown  October 2006

I discovered a new author the other day by browsing the internet for future writers' conferences I might wish to attend. The author isn't new; he has five books out in the world at this writing. He's just new to me. This author was a guest at a conference and I visited his website. It looked pretty cool so I toured the place and read several intense blog postings. I read his comments in the “For Writers” section and BOOM, he got me. Between that and some of his blog postings, I was hooked, hooked on the author, not the books. I hadn't even looked at the books yet. He shared information about writing, including his experiences and in a manner I understood and enjoyed. That's why I bought his first book that very day. He shared a part of his writing world and it appears he will continue to do so and I believe in rewarding that kindness by buying his books. Fortunately, I'm enjoying his work, so doubly good for me.

Of the books I have purchased, many were because the author shared their knowledge, foibles and triumphs, the ins and outs of writing with fledglings like me. I discovered them through blogs and articles they wrote or workshops they gave and they touched me with the enthusiasm that bleeds out of them. I bought their books because they are mentors to anyone willing to listen. I don't have to be in their inner circle of friends or in their chapter or writers' group.

This type of promotion, the giving back kind, is the most impressive to me. I buy books for many reasons: a great cover, a nice blurb, a coupon, a recommendation, or I'm already familiar with the author. The difference though is I feel no loyalty to those authors. I feel loyalty to authors that have helped me, or encouraged me though they may have never met me. They have a teaching heart.

Stay the Course!

by Ruth L Brown  January 2007

The voice in my head is not one of the characters I have created. It is often my mother's voice speaking her wisdom to me. It's not always something I want to hear, but the majority of her teachings to me are sensible solutions to life's problems, truly useful advice or words of encouragement when I need a boost. Often in this writing pursuit, I feel discouraged, some days more than others. As gung-ho as I am, there are times I wonder why I'm trying, especially when it seems so slow a process I'll never get there, wherever “there” is.

That's when I can hear my mother telling me “Stay the course.” She said this with such conviction and she would explain why if necessary. She wouldn't let me quit or get discouraged, even when I was fed up with a potential employer when I was in college. He had put me off several times when I inquired for a job in the university's book and supply store. I'd heard he was hiring and it would be my first W-2 job. But instead of saying come for an interview or a flat out no, he would tell me to come back on such-and-such day. He did this repeatedly until I finally went home and told my mother I wasn't going back! She said I must go back. I refused. She told me then if I would just go back one more time, just one more, she would pay me. Well, I'm not above taking a bribe from my mother, so I did it. I was hired on the spot along with a group of other students. No interview.

So now, whenever I think my dream isn't going to happen, I'll never make a sale, I listen to my mother. Stay the course! Just try one more time. Whatever I'm doing, just give it one more try. Just one. And after that, I'll try again one more time. Just one.

Writing Away

by Ruth L Brown  February 2007

I'm not referring to writing profusely, that wonderful session when a writer can't type fast enough; the story is so hot in his mind. I'm talking about writing away from distractions: family, housework, television, snacks, and even the convenience and speed of the computer. My old laptop didn't have an internet connection so it was more conducive to writing without indulging in the urge to check emails or send instant messages. I wasn't on any writers' group loops then either, another deterrent to staying on task.

When I began to take pen and paper pad to the bookstore cafe to write by longhand, I began to make progress. I learned quickly to tune out most patrons sharing the space with me though I've struggled not to snap at squeaky voiced college girls talking loudly for the pleasure of hearing themselves speak. The atmosphere is not perfect, but I've yet to come home without something useful. That's a 100% success rate as opposed to maybe a 50% success rate sitting at home in front of the computer. Typing the page or two from my notebook into the computer often sparks more writing while at the computer, so my computer time is more productive.

I realize it may only be playing mental games, but writing is a mental process and if distractions can't be removed mentally, then I'll remove them physically. Writing in a bookstore, my end target, provides incentive to write when I look up and see all those fresh books waiting on a reader to come by. Ordering a fattening yummy coffee with whipped cream helps, too.

Just Start Talking

by Ruth L Brown  March 2008

I'm like everyone else; I get stuck, draw a blank and stare off into space while writing. This recently happened while I was attempting to write at the bookstore. After several spurts that dwindled off to nothing compelling, I was considering going home. I normally write complete scenes, editing as I go. I have been working on that restrictive mindset, to loosen up and let the flow of the story move freely with corrections coming later, but it comes hard for me, even though I can see the benefit. That night my method of madness was not working.

I decided to try approaching the scene as a screenwriter might: dialogue only. Just get the characters talking. I landed in the middle of the discussion with a single line and went from there. Tags were unnecessary since the talk was distinctive to each character. All descriptive writing was left off. At the end, I went back to the middle, rewound the film slowly and filled in the first part of the conversation as they moved in reverse. The only other element was a brief one or two word description to remember a spontaneous thought related to a specific line of speech that I didn't want to risk forgetting.

It took two more writing sessions to flesh out the bones of that scene, but it worked and I'm happy with the results. Writing time is precious and sitting in a chair spinning my wheels is such a waste. Writing dialogue only is an excellent method to overcome that stuck feeling. It's a viable solution that actually stays in your manuscript unlike some solutions that are only geared to get over a hump, such as writing silly things for your characters to do and say. I've used that method, too, and I have nothing against anything that works, but saving all that writing feels better in the end.

Trees or Forest?

by Ruth L Brown  January 2008

I attended a workshop during the RWA conference in Atlanta in which the presenter was giving her technique or process for editing. It was very detailed. Unfortunately, I think several attendees were following her to the letter rather than paying attention in general to the disciplined, thorough approach she uses.

At one point she was stating highlighter colors she uses to mark different elements of the manuscript. Highlighting assists in finding certain parts of writing at a glance, to evaluate balance in the manuscript or bring problem areas to light, etc. If a page or two is mostly one color, for instance, then you might have overdone narrative and may need to add dialogue or action. What I found interesting and a bit frustrating during the class was how many times she was interrupted with a question asking her to repeat the color and which element it belonged to. What does it matter which specific color SHE uses?

Is writing so scary a process that we can't sit back and listen in a workshop without scribbling notes frantically and essentially missing out on half of what the speaker says? It wasn't only in this one workshop. This practice of furious note-taking down to the minutest detail occurred in every workshop I attended. It reminds me of students relying on memorization to make an A instead of trying to study and understand the concept. I suppose we all have our methods of taking in information and maybe it was my writer's brain paying attention to the class as much as the teacher (behavioral science observations so to speak), but I worried some were caught up in missing the forest for the trees. Writing is not math. It's a creative process with endless techniques that can be adapted to suit the individual writer. It's okay to use your own colors.

Do the Math

by Ruth L Brown  February 2008

I'm hand-mopping the kitchen, a rare event, and thinking about how many hours there are in a day to do what one must do. My day job right now takes thirteen hours between getting ready for an hour, commuting round trip for thirty minutes and the remainder of actual work. At home, preparing food, eating supper while checking email, and cleaning up uses an hour. Handling household finances, processing snail mail and paying bills burns off thirty minutes to an hour. Forget television and reading the newspaper.

Now here's the crux of the matter. What do I do with the rest of the evening, two or three precious unclaimed hours a few nights a week that I'm not running errands? Clean house or write? I'm not fond of cleaning house, so most often I do something related to writing.

But what? Do a critique, judge or prepare to enter a contest, update my websites, write an article, cruise the loops for pertinent information, read a craft book or report, do a review, revise, plot, outline, or write fresh words? Even reading for pleasure has become an exercise in writing.

I've handled this time factor war and balancing act by setting priorities. First priority is fresh words. If I don't have fresh words, the other tasks I can do for my writing career are rendered moot. Some nights it takes a bit of time just to throw my brain into another gear, the creative one. Sometimes, it also gets stuck in that mode and I can't go to sleep, making the next day much harder.

Eventually, the page begins to fill with words and the house becomes more cluttered and dirty. But there's the weekend, right? Did I mention laundry, grocery shopping, exercising, family time and again with the house cleaning? The battle to write is hard won. Do the math. There's only so much time and something's got to give. What's it going to be? For me, the answer is clear. The vacuum is staying in the closet.

Character Count

by Ruth L Brown  March 2007

A guest agent on a forum stressed character count over word count for determining the length of a manuscript, a highly debated area in the writing world. Not knowing how to figure character count, I researched the matter. Assuming one uses a font with even spacing for letters, first count the number of characters and spaces per a full line anywhere in the manuscript. Next, count the lines per page and multiply that by the line character count. Take the results and divide by 6, the average characters per word. Multiply the new number by the number of pages and fractional pages and the result is the word count using a character count method. Here's an example:

Assume Courier New 10pt font and 1" margins all around.
57 lines per page (I'm using single spacing since I type that way.)
78 characters with spaces per line
6 character standard for average word length
67 page manuscript

57 x 78 = 4,446 characters per page
4,446 / 6 = 741 words per page
741 x 67 = 49,647 words
49,600 rounded down

In this example, using my manuscript, Microsoft Word gives a word count of 33,176 versus 49,600 using the character count method. BIG difference. I have a great deal of white space due to dialogue, so I use more space in my manuscript. I have yet to test this method in the publishing world, but the character count makes sense and takes into account individual taste in fonts, margins, line spacing and so forth. In essence, each time a line is used, whether there is one word on it or several, the character method in relation to lines, more accurately determines the space usage of the manuscript.

Of course, I must test the character count method being the way I am. I took two manuscripts and chopped them down to the same processor word count of 10,113, formatted both documents with the same font, margins and three chapter headings. Comparing them, I could see one took more pages, exactly what would happen if each were printed into a book. Using the character count method, one contained 14,900 words, the other, 15,700 words. Now the word count matches the visible difference in pages. A more accurate method of determining word count may better correlate to an editor's ideal word count, saving time in the long run and avoiding the dreaded cut.

Why Do I Bother… - a GIAMx2 Loop post I decided to share here

by Ruth L Brown  April 2007

That's what I think sometimes. Why? Why am I sitting here staying up late, letting my house go to pot, skipping activities, reading craft books when I'd love to get more fiction read, spending money, etc etc etc.

You all know what I mean. We've all been there and gone back there over and over, haven't we? We ride the wave of feeling like we accomplished something in our writing, whether it's fresh pages, rewrites, getting out queries, walking up to an agent or editor with our knees shaking and sometimes finaling or winning a contest. I don't know about the wave of getting a contract yet. We also come off that wave and get sand in our face and up our behinds when we struggle to write even a paragraph, receive rejections, lose files, fail to query or pitch and don't get a request for anything!

So why? Well, I don't know. I'd like to think it's because I can't stop writing. That's true, but it's more than that because I wrote on and off for years and didn't have any real notion of doing a thing with any of it. I can be rather self-absorbed and never share one word of it with anyone. It's not fame…at least I don't think it is since there are more struggling writers than there are Nora's and Stephen's. So why?

Reading all our recaps each week and seeing how happy we are sometimes and how disgusted on other days, there's just something intangible there that resides in all of us. So many of us fall off the path, sometimes for years, and it is such a struggle to get on it again, but eventually we do.

Whatever it is we have that keeps us going, it's special. It's precious. Whenever I think 'why do I bother', I'm just going to ignore that thought and wait for tomorrow, because tomorrow I won't feel that way anymore.

Fear of Success

by Ruth L Brown  November 2007

Fear of success is really wrapped up in two scenarios in my opinion and a solution can't be found until the underlying problem is addressed.

One: the person finds the other side of success unattractive in its entirety or certain elements to that job are distasteful or thought to be too hard. The solution to this is to either stop the pursuit of something you don't truly want (a writing career is easily abandoned since it's voluntary and involves no one else) or to gain an understanding of exactly what the perceived hard parts entail so those parts no longer seem insurmountable. Traveling? Promotion? Writing a second book? Dealing with the business portion?

Two: the person really has a fear of failure, but prefers to disguise that by making sure failure doesn't come, i.e. one cannot receive a rejection letter if no queries/submissions are ever sent. It feels better to say one has not even tried to go through a door, than to say one was denied access. The solution would be, of course, to submit material and admit that success is not a given we must avoid.

A lot of writers I know suffer from one or both to a degree. I personally prefer not to travel alone and find the thought of going on book tours without a companion depressing, so I already know that I will either have to overcome that or enlist someone to travel with me each time. I also hate traveling by plane, so that would put a big crimp in a lot of travel plans.

Overcoming the fear of success or failure is possible, but only after the true cause is revealed. In a few cases, discovering exactly what makes us fearful alleviates the fear immediately. In most cases, however, retraining our minds to approach something fearful with a different attitude is needed. In a writing career, learning to remember we do have a great deal of control will lend power and power conquers fear.

Being a Groupie

by Ruth L Brown  November 2007

I decided I had avoided pitching long enough. Chutzpah or not, I signed up to pitch at the Georgia Romance Writers' Moonlight and Magnolia Conference. I bounced back and forth between regretting my rash action and telling myself this was a good thing. My husband never waffled on the issue. Pitch. Since I couldn't figure out a way to get out of doing the pitch gracefully, I determined to stumble through it and console myself later that at least I had experienced the horror for myself. I treated it as marking off another step in becoming an author as well as a step in personal growth.

Once I learned I was scheduled for a group pitch, I was both relieved and disappointed. I'd heard different things regarding group pitches. In some, one writer hogs the whole appointment and the rest feel cheated, but all is somewhat forgiven if the editor or agent throws out a blanket request covering everyone at the end. The consensus seems to be that a group pitch is almost a guarantee for receiving a request. I didn't really like that, though it had an odd comfort to it. I could sit there and do nothing, yet get what I wanted. But was it really what I wanted? I want the editor or agent to be truly interested in what I pitched and be looking forward to receiving my material. Otherwise, it might as well be a shot in the dark rather than a targeted effort.

When my group session rolled around, I was herded in with the other writers to a large round table in the midst of other round tables. There were also one to one pitches going on in the same room. The hum of voices didn't swallow the burst of sound from a few distinct writers pitching louder than the rest. The agent for my group started off to her right, treating each of us as a single pitch as she made her way around the table. All five of us received a request. This was not the case in other group sessions that day. I enjoyed having the opportunity to listen to other pitches, but I can't say the group dynamic was a breeze. The one to one pitch I landed in by happenstance the day before was less nerve wracking. In that meeting, I had no time to build on being nervous, question what I was doing or compare how I pitched with anyone else. Go in, pitch, discuss, go out. Much cleaner.

For me, going through a pitch, group and single, dispelled some of the notions I had from listening to other people exclaim over doing pitches. I didn't find it near as bad as I expected. Actually, I didn't find it to be bad at all and I rather enjoyed meeting them however rushed it felt. Maybe in the future I'll go through one that changes my mind, but for now, I see no reason to dread the process and a lot of reasons to plan for the next time I have an opportunity.

The First Five Pages

Reviewed October 26, 2006

Literary Agent Noah Lukeman's The First Five Pages, A Writer's Guide to Staying Out of the Rejection Pile (A Fireside Book, Simon & Schuster, 2000) addresses outstanding, even glaring, mistakes commonly seen by editors and agents that would give them a quick excuse to reject a manuscript. He breaks the writer pitfalls into three parts: Preliminary Problems, Dialogue, and the Bigger Picture. Each part is further broken down into chapters on specific errors. Straight forward points are made with clear examples, solutions and chapter exercises. The reader cannot escape understanding the problems emphasized in this book. The feeling after reading it is enrichment and power to improve one's writing, as if the reader sat down for a one to one session with the author. This book is definitely a must read for new writers and an excellent reference source to keep on the shelf as a reminder of bad habits for the veteran writer.

So You Want to Write

Reviewed January 3, 2007

Authors Marge Piercy and Ira Wood promise much in the introduction of their book, So You Want to Write, How to Master the Craft of Writing Fiction and Memoir - 2nd Edition (Leapfrog Press, Copyright 2001, This Edition 2005). This is a quiet book focusing on a wide range of topics, including characterization, plots and dialogue as well as work habits, fame and destructive behavior. The book is thought provoking later on when it's hefty weight is not in the reader's hands. It's beyond the ordinary at the beginning, making one wonder at what's to come, but it delivers beautifully, seeping guidance and insight into the reader's being until the urge to write is relentless. The shared experiences and comments will make you laugh and think, and the exercises are rewarding. This book draws up from the depths and is well worth having in a writer's permanent library.

Lessons From a Lifetime of Writing

Reviewed September 19, 2007

I expected the book, Lessons From a Lifetime of Writing, A Novelist Looks at His Craft by David Morrell (Writer's Digest Books, Copyright 2002), to be a memoir of his writing experiences, rather than a writing craft book. Maybe I should have paid more attention to the word 'Lessons' in the title. Reading this book is more than imagining my chin in my hand while I listen to a great author talk. I wanted to tell others what I read, make notes, look at my work, and write. Morrell pulls no punches regarding being a writer. If one doesn't have the overwhelming must-write-now urge to get a story down on paper, then consider doing something else. Some of the lesson headings are: Why Do You Want to Be a Writer?, Getting Focused, The Tactics of Structure, The First Page, The Psychology of Description, What Not to Do in Dialogue, and Getting Published and the Business of Writing. He also devotes a lesson to one of his most famous characters, Rambo. I'm thrilled I own this invaluable book. Morrell has a way of teaching that makes learning enjoyable.