Category: Writing Tips & Quotes

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Contests 101: 5 Editor Takeaways

Contests bring out the best in all of us—the entrants, the judges, the agents. 

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I’ve been on the receiving and giving side of both ends of the manuscript contest spectrum.

This blog posts focuses on the editor’s response to contest critiques.

As an editor with experience in evaluating and editing manuscripts (250 since 2017), I understand what it takes to catch an editor’s eye. I value the awesome responsibility required to evaluate and comment on a writer’s beloved work. And I respect what’s needed for each manuscript that comes across the work desk. It’s exhilarating. Truly.

Five Facts about Evaluating Contest Manuscripts

  1. Evaluating is hard.
  2. Evaluating is vulnerable.
  3. Evaluating is empowering.
  4. Evaluating is responsive.
  5. Evaluating is unpredictable.

I’d like to think that these are five of many possible facts about evaluating contest manuscripts.

Five facts from an editor’s perspective in evaluating manuscripts

  • Hard, because we know the author has poured blood, sweat, and tears into their manuscript, and it’s as much a part of them as their massive library collection.
  • Vulnerable, because we’re judging blind, not knowing who wrote what we’re reading. Yet we want to offer kind and helpful comments for each entry.
  • Empowering, because to think that we get to empower and validate a writer we don’t know is just the best thing there could ever be. That’s just pure bliss right there, and tastes richer than any mint dark chocolate bar in the whole wide world.
  • Responsive, because hitting that Submit button after judging an entry because we hope we have judged to the best of our ability and respected the author’s voice, their story, and the message while providing active feedback tailored for each manuscript.
  • Unpredictable, because once we hit that Submit button, there is no turning back. No guarantee that the writer will agree with us as we prayed our way through each story for wisdom in assessing and for words of encouragement in offering helpful feedback so that the story can be improved and scale up the ladder toward publication success.

What ebb-and-flow levels of curiosity and responsibility, huh?

In truth, most editors are happy to review manuscripts, to offer advice, to empower authors because if it weren’t for authors, we’d be out of a job. Publishers would not survive. Bookstores would not add to their shelves. And readers would have no books to enjoy.

Contests 101: Five Editor Takeaways

  1. Evaluating is easy.
  2. Evaluating is protection.
  3. Evaluating is discouraging.
  4. Evaluating is empowering.
  5. Evaluating is predictable.

I know, I know. Oxymoron, but we’re doing a switch on the “fear” words from the five facts about evaluating contest manuscripts.

  • Easy. While we realize that we take great care in providing useful, helpful, and honest feedback to each writer’s entry, we know that being as clear as we can about how the writer can implement our comments will be easy for them.
  • Protection. Most contests have high guidelines for their judges (or they should!). We know that a contest that has solid expectations for each entry is gold because we do indeed value each submitted manuscript and want to critique it to the absolute best of our industry knowledge. This creates a sense of protection for the entrants because the judge knows what they’re looking for and will have your story’s best interest at heart.
  • Discouraging. We sometimes do have to provide the author with a low score because perhaps the story is not where it needs to be . . . yet. And that yet is so empowering!
  • Empowering. And sometimes we give a great score because the writer did well in their story presentation.
  • Predictable. In all, we know that if the writer has done their homework, studied the craft, enlisted beta readers or a professional editor in the editing and proofreading stage, and knows that a contest does not define them or their writing, then we are confident that our comments on the writer’s manuscript will be received in a manner of gratefulness and encouragement.

And, who knows? You might even place in the contest, like one of my author-clients did!

Above all, each judge should view your manuscript through the eyes of grace. If they don’t, then please by all means, you’re free to chuck their advice. Grace given is a valuable and precious gift.

So, my writer-friend, don’t bemoan when submitting to contests. Exercise due diligence. Find out what your manuscript needs *before you submit. Most often, this includes reaching out to a trusted and experienced editor who knows what they’re looking for and who can give you the best overall critique advice for your story—in hopes of getting great feedback on that story submission.

If you’re worried about the cost, it’s usually not much. The cost of a critique is basically the same cost as a cup of coffee—-in general terms of experience. Both prices and experiences are just right.

So . . . are YOU submitting this season? Le me know in the comments!

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Five Things I Learned After Writing My First Chapter

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With my cursor at the beginning of Chapter 1 of my WWII historical fiction novel, I hit Ctrl+Enter and sighed.

Beginning a book all over again isn’t pleasant sometimes.

I loved this chapter. I mean, really liked it, even though I knew all along something wasn’t quite right about it.

For several months when I first started writing all those years ago, I struggled to figure out why chapter 1 didn’t work as the beginning for my novel.

And now, I needed to start over and create a new Chapter 1.

A few contests, a writing conference or ten, a plethora of writing craft books, and two agents later, my intuition had solidified into a clear direction of where this novel needed to go. The feedback was abundantly helpful, and most of the readers enjoyed the few chapters I had submitted.

But the first chapter lacked … heart. The first chapter was missing the GMC (goal, motivation, conflict).

My chapter lacked a clear, immediate action.

Who are these people and why do you want me to care for them?? 

I can honestly say I’ve always been a writer who struggled to write beginnings. I’m sure I’m not the only one, and there are writers who dislike middles and endings too.

Here are a few things I learned about my now-improved chapter (the Chapter 1 that everyone liked but couldn’t connect with):

  1. Always introduce your characters early enough in the first page that gives the reader reason to continue to the second page and the third page and eventually the last page in as few sittings as possible. Maybe your character is afraid to drive over a bridge or wants to capture a rattlesnake. You want that first page to pop! off the page.
  2. Give your characters interesting, lively dialogue . You want to make your readers laugh and relate to the story, even if in a small way.
  3. Engage your readers. Don’t make them ask the kind of questions that drive them to set your story down and go do something that they had been putting off (like washing laundry or bathing the dog).
  4. Don’t overwrite. Less is always more.
    (This was hard for me at first because I like to describe things. But too much actually hurts your writing and may frustrate your readers. Readers want a quick read they can still enjoy.)
  5. Choose your words well. Your words can endear your readers, or cause them to run. Mark Twain said it best. It’s the difference between lightening and the lightning bug.

Taking an honest look at my first chapter, and based on my family’s and friends’ and judges’/agents’ comments, I’m glad I’m starting over. Last week, I spent four days pounding out a new Chapter 1 — a rough draft right now, but hopefully in the near future it will be a well-rounded opening chapter!

Now, excuse me while I read over this post and check to see that I’ve engaged you, helped you relate to it, caused you to want to read it, and that I’ve used my words well.

Oh, if you want to learn more about engaging your readers with that first chapter, I’ll be speaking about The Felt Need and How to Work with an Editor at two different writer’s events in Summer 2023. Check my socials for details!

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Contests 101: 5 Author Takeaways

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Contests bring out the best and the worst in all of us—the entrants, the judges, the agents or editors. 

As a published author and professional editor, I’ve been on the receiving and giving side of both ends of the contest spectrum. And though I often didn’t like the judges’ score, I did appreciate their gracious feedback and insightful questions.

Their feedback and score did not define me or my writing skills.

I’m still alive and well to tell about it. Like now.

This blog focuses on the author’s response to contest judges’ feedback. (Next month, I will share the judges’ side.)

As a writer with about twenty years behind me (well, twenty exploratory, learning, and professional years combined, but still counts!), and having submitted to college contests three years in a row with nothing but disappointment (and I was a writing major), and having submitted to professional contests three years in a row with nothing but confusion and tears to show for (didn’t my writing degree prove anything??), I’ll share my personal journey with you.

Five Facts about Submitting to Contests

  1. Submitting is hard.
  2. Submitting is vulnerable.
  3. Submitting is empowering.
  4. Submitting is scary.
  5. Submitting is unpredictable.

I’d like to think that these are five of many possible facts about submitting to contests.

  • Hard, because we will never know if our manuscript has been edited enough. What if we missed that comma that we didn’t know we missed? What if our dialogue doesn’t sing? What if . . .? What if someone is just a better writer than me? Oop, let’s just close the computer right now and hang it up forever.
  • Vulnerable, because someone we don’t know is going to read our precious words. Oh my gosh, that’s just too much for me. What if this judge absolutely hates my story because their uncle chased them with a scary clown mask. giving them lifetime nightmares too? Oh dear. That’ll disqualify me for sure!
  • Empowering, because to think that someone we don’t know is going to possibly, hopefully validate us is just the best thing there could ever be. That’s just pure bliss right there, and tastes richer than any mint dark chocolate bar in the whole wide world.
  • Scary, because hitting that Submit button just might seal our fate to never ever send out our work again, so we might as well just keep sipping coffee and eating dark chocolate and loving, appreciating our words, as if no one else will ever like them but us.
  • Unpredictable, because once we hit that Submit button, there is no turning back. No guarantee that a judge will agree with us. No promise that a judge will believe in us or our story.

What ebb-and-flow levels of fear we’ve created, huh?

True. If you are not inclined to submit because of these fears (yes, let’s say what they are), then you won’t follow through. If that sounds harsh, please understand that I have been in that spot before.

I didn’t follow through because I sincerely thought my manuscript idea and story was not good enough. No one would like it. The judges would give my manuscript a total score 40 and tell me I needed to enhance my characterization, my theme, my dialogue. Blah. Why enter if I was going to get that kind of rejection? Not worth it!

Ohhh, but what I didn’t realize was that submitting to contests *was worth it! Don’t believe me? That’s okay. You’re not inclined to; but if you’ll stick with me to the end, I’ll share five things authors can takeaway from submitting to contests . . .

Contests 101: Five Author Takeaways

  1. Submitting is easy.
  2. Submitting is protection.
  3. Submitting is discouraging.
  4. Submitting is empowering.
  5. Submitting is predictable.

I know, I know. Oxymoron, but we’re doing a switch on the “fear” words from the five facts about submitting to contests.

  • Easy. This might sound confusing or intriguing. When we dash the fear that submitting is hard, submitting then becomes easy. Not necessarily easy in the act of hitting that Submit button, but easy in knowing that whatever happens, it’s easy to let go and trust God and the powers that be.
  • Protection. Mmm, yes. Protection. Most contests have strong guidelines for their judges (or they should! If you’re unsure, then take the power plunge and query them for judges’ guidelines or qualifications). This creates a sense of protection for the entrants because the judge knows what they’re looking for and will have your story’s best interest at heart.
  • Discouraging. This is a heavy word, but it’s truth here. You may not get a good score when the results come in. That’s life. That’s reality. That’s discouraging. However, if the judge behaved objectively (as they should), then their comments will be comforting, encouraging, and empowering. You’ll know what to do next time! Isn’t that encouraging?
  • Empowering. And sometimes you’ll get a great score on one score sheet. Yay! Go you! Or maybe you’ll receive a personalize comment from a judge who discloses their name and email address, specifically telling you to contact them when you’ve made changes. Ooo! (Now, they’re generally not supposed to, but in the faith-based market, judges are also sometimes editors, so they know a good story when they see one; and often reach out to help authors who show promise—in the hopes that the author will one day impress and agent or publishing board.) How cool is that?
  • Predictable. Hmm, this one is interesting, because it’s kinda like gambling, isn’t it? I say submitting is predictable because if you have done your due diligence and gotten good solid feedback on your manuscript before submitting . . . meaning, you have had encouragement from a trusted source (published author, skilled editor), then chances are, you’ll have great results after hitting that Submit button.

And, who knows? You might even place in the contest, like one of my author-clients did!

Above all, each judge should view your manuscript through the eyes of grace. If they don’t, then please by all means, you’re free to chuck their advice. Grace given is a valuable and precious gift.

So, my writer-friend, don’t bemoan when submitting to contests. Exercise due diligence. Find out what your manuscript needs *before you submit. Most often, this includes reaching out to a trusted and experienced editor who knows what they’re looking for and who can give you the best overall critique advice for your story—in hopes of getting great feedback on that story submission.

If you’re worried about the cost, it’s usually not much. The cost of a critique is basically the same cost as a cup of coffee—-in general terms of experience. Both prices and experiences are just right.

So . . . are YOU submitting this season? Let me know in the comments!

We’re into the submission season. There are still open contests out there!

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How to Edit Like a Director

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Editing Like a Director

first appeared on Almost an Author September 22, 2018

Hello! How’s your editing been going for you? I hope you’re seeing great improvement, but if you’re at a loss for how to edit or even what it consists of, take heart.

Editing is as much an art form as writing, so the more you practice, the better your results will be. Last month, we looked at three ways to think like an editor. This month, we’ll switch gears and look at how to edit like a director. Rather, we’ll transform our story into the stage and our characters into actors. You enjoy a well-done performance, don’t you? Consider what makes up a stunning stage performance . . . and we’ll incorporate a few tips for how to edit like a director.

Three tips for how to edit like a director

  1. Captivating dialogue

I understand. Dialogue is hard to craft because as in life, there’s emotion, nuance, and subtext in our characters’ dialogue. When crafting my own dialogue between my characters, I must reflect on the general goal I want my hero and/or heroine to accomplish. And whatever that goal is the dialogue should mirror that goal. For instance, if my amateur detective heroine wants to get admission into the exhibit so she can scoop up clues from last night’s painting theft, but no one will let her in because that section of the museum has been closed off, she’s got to convince the ticket master that it’s important to let her in. What might that dialogue consist of?

Amateur detective: “Sir, I’m with the police. I’d like to be let inside the exhibit hall, so I may conduct my search.”

Ticket master: “I’m very sorry. Only the private investigators are allowed in there.”

Amateur detective: “But I am a private investigator.”

Ticket master: “Hardly, miss. Where are your credentials?”

  1. Strong character actions

Outside of dialogue, strong character actions is the most important element on the stage because it connects the audience with the actors and endears them to the entire story. Likewise, giving your story characters specific movements throughout each story scene will entice our readers to want to engage with the story. Let’s take the dialogue we crafted between the amateur detective and the ticket master and incorporate some strong character actions.

Lily Nash stepped inside the museum’s expansive lobby, searching for the ticket counter. Ah, there, near a huge marble column. “Sir, I’d like to be let inside the exhibit hall, so I may conduct a search from last night’s robbery.”

“I’m very sorry, but that’s closed to the public. Only private investigators are allowed in there.” The ticket master stamped a few papers and filed them.

Gripping her handbag, she said, “But I am a private investigator.”

The ticket master cast a scorning glance down at her over his thin metal spectacles. “Hardly, miss. Where are your credentials?”

Did you notice yourself envision the scene, what the characters might look like, and how their voices might sound, based from this scene? Does it seem like Lily isn’t as prepared as she should be, and the ticket master is a stern fellow? Do you hear the desperation in Lily’s voice and the disbelief in the ticket master’s? Can you see the lobby’s high ceiling and the large, stone columns? We have not included anything but character actions and dialogue, and perhaps you are connected with the scene already.

  1. Strong transitions between scenes

Incorporating strong transitions between your story’s scenes will help your readers connect the dots and stay on track with the story as it ebbs and flows, leading to the climax and the ending. Now, we’ll take the last scene, with dialogue and character action, and create transition scenes before and after.

Looking up at the front of the art museum, Lily Nash clutched her stomach. Her first assignment alone.

She stepped inside the museum’s expansive lobby, searching for the ticket counter. Ah, there, near a huge marble column. “Sir, I’d like to be let inside the exhibit hall, so I may conduct a search from last night’s robbery.”

“I’m very sorry, but that’s closed to the public. Only private investigators are allowed in there.” The ticket master stamped a few papers and filed them.

Gripping her handbag, she said, “But I am a private investigator.”

The ticket master cast a scorning glance down at her over his thin metal spectacles. “Hardly, miss. Where are your credentials?”

“I have them, sir.” Lily dug through her handbag. Fear gripped her throat. She’d had it at the station. Without another word to the ticket master, she turned and fled the building.

Transitions don’t have to extend to several sentences or even paragraphs. Just mention enough to get your characters from one place to the next so it will be clear to your readers how your characters are moving throughout the story as it progresses, hopefully, from good to bad to worse to a climactic ending with a satisfying end.

Just as each theatrical production has its own style, theme, and tone, your story has its own style, scene exchanges, dialogue, and tone so that the message truly reaches the reader’s heart. The bottom line is to make sure your writing shows an entire story being acted out as if it were a theatrical production. Now, take a small scene from your current WIP and see how you can transform it into a scene that fully engages readers in dialogue, character actions, and transitions.

Please join in the discussion! I’d love to hear from you!

Take a few minutes and ponder. What is one self-editing tip that’s helped you recently? 

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3 Steps to Build Your Writer’s Platform

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(first published in 2018, now with updates)

Why do many aspects of Platform cause a writer to shun and run from this daunting stage?

“It’s so new.”

“It’s so scary.”

“I’m scared!”

“I can’t do it.”

“I don’t know even what I’m doing.”

“Why is it important?”

I don’t know what keeps you from building your writer platform. Every person is beautifully designed. What I do know is that in the years I’ve been navigating the waters of social media and building a platform, I’ve learned it’s not as daunting. Rather, it’s quite fun. God’s given each of us gifts with which to serve him. We each have intrinsic value to contribute to our community.

Yet fear is one thing that can get in the way of building platform.

Fear pushes you away from connecting, from growing, from learning. Fear keeps me from doing what I want to do. I didn’t realize how introverted I was on social media; I don’t enjoy sharing every scene of my life, however, as I’ve grown into the knowledge of truly connecting, I am learning how to connect in the way that works for me. It might not work for you, and you’ll likely find your own way of vulnerability and connection too.

Once I realized what I was afraid of and how to nudge it down, connecting with people has been the most rewarding part of this platform journey.

I can’t remember who said it but I’ve learned to let fear motivate me, for in that, I’m able to balance the rational fear from the irrational fear about platform and why it makes me scared. When I release my fear  and embrace inner confidence, I’m giving myself the freedom to do what needs to be done and press on with love and light.

As King David said in Psalm 23, “He maketh me to lie down in green pastures: he leadeth me beside the still waters.”

My fellow writers, graze in the security that the Lord is with you in every situation. Even as you build your platform and reach out to people. In my mind, platform simply means connecting with people. With the Lord at my side and a love for people, I can go anywhere and do anything.

As many an industry professional will say, “Platform” isn’t just social media, branding, and blogging, “it’s network. It’s connection. It’s relationship.”

Many beginning creatives may find Platform challenging, and it is. Connection might seem like a valley at first. But if we zoom through the valley and turn our eyes toward the mountain, we will recognize success. Rome wasn’t built in one day. Neither is Platform built in one month. Or one year. Or ten.

Find your vulnerability. Find your tribe. And let your connections live and flourish.

Here are three N’s to build that platform:

  1. Network on the social media you’re comfortable with.
    If it’s only Facebook you’re on, stay there. Don’t try anything else. When you’re comfy cozy, venture out and include Instagram, LinkedIn, or YouTube. Above all else, start small. Build those relationships, even among your thirty friends. You’ll grow.
  2. Nudge everyone in your field. And join others’ newsletter list too.
    If that field is editing, reach out to one person a week. Make small conversation. Compliment them on something from their website or social media content or newsletter. If that field is writing, connect with writers who write the same things you do. Offer something of personal value to everyone you meet.
  3. Nestle with God and his people. 
    Growth takes time and effort before it just blossoms. Keep working at it. Form a prayer chain with a few friends about your struggles. Find a mentor. Ask God what he would want you to do. He will help you because he’s called you to it.

I’d Love to Connect with You!

Authors, writers, editors, friends, PEOPLE, I’d love to connect with you!

You see my social media links on the sidebar. Follow me, and I’ll follow you back––I would also love to engage in conversation. Or better yet!! Sign up for my email newsletters for valuable information and to continue broader and deeper conversations…

That’s what it’s all about. Let’s get this platform, connection, underway so we can do what we’re called to do!

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Behind the Pause

When I think of a pause, I think of the silence, the peace. And yet it’s not quite silent.

There’s the whisper of the wind, your soft breath, the gentle nod of clothespins, perhaps a musical note or two kissing the air.

Or the simplicity of children playing, birds flitting, squirrels’ tails flickering, flies buzzing.

Sometimes it’s not what’s around you, but what is the pause in your mind.

This is often where silence occurs. Contemplative thoughts before that decided action. Or spoken word. A prayer before hitting Send.

Ah, when I think of a pause, I think of glory, of joy, of peace. Of rest. And it’s refreshing.

What’s your pause? How would you describe it?

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Three Steps to Editing the Beginning

[This post first appeared on Almost an Author. February 22, 2018.]

Three Steps to Editing the Beginning

With my cursor at Chapter 1 in my WWII historical fiction novel, I hit Ctrl+Enter and sighed. Beginning a book all over again wasn’t what I had in mind. I liked this chapter. I mean, really liked it, even though everyone else said it wasn’t quite right. Forever, why? Why must I abandon these pages and start fresh, like erasing a favorite drawing of a flower but one petal was lopsided.

Two contests, a writing conference, and two agents later, my intuition solidified into a clear direction of where this chapter needed to begin. None of the critics’ comments were overly negative, and most of them enjoyed the few chapters I had submitted. But my first chapter lacked … heart, GPC (goal, problem, care), and solid reasons why things were happening the very moment the story began.

Beginnings

How many of you have revisited this elusive beginning, struggling to create a first chapter that pops! off the page?

I’ve always struggled to write beginnings. I’m sure I’m not the only one—and there are writers who dislike middles and endings, too.

Who are these characters, what is their goal and problem, and why do you want readers to care?

In addition to Goal, Problem, and Care, here are three things I learned about editing the first chapter that helped me introduce the GPC:

  1. Introduce main characters and continuing action early in the first page.Your readers must have a reason to continue to the second and third page and eventually the last page in as few sittings as possible. Maybe your character is afraid to drive over a bridge but must because her boyfriend sent her on a scavenger hunt, or perhaps your character must capture a rattlesnake because his friend dared him. Your first page should pop! with action that includes a huge goal with a problem your main characters must overcome by the book’s end.
  2. Give your characters lively dialogue. You want your readers to laugh and relate with your characters. The old “How are you?” “I’m fine, how are you?” type of dialogue doesn’t work anymore.
  3. Don’t overwrite. Simple is always best. Make Strunk and White proud of you!

Simple writing is sometimes hard for me because I love to describe things; however, too much is not good and hurts your writing and may frustrate your readers. I love reading Anne of Green Gables, but I have a hard time staying engaged with the verbose descriptions; in Ms. Montgomery’s defense, her readers enjoyed lengthy descriptions. Today’s readers want a read they can enjoy quickly.

After taking an honest and humble look at my first chapter based on the judges’ and agents’ comments, I’m glad I started over. I spent a few days pounding out a new first chapter, and it’s stronger because I’ve given my characters a goal to look forward to, a problem that stands in their way, and my readers something to care about.

Now, excuse me while I edit this post to ensure I’ve engaged you, helped you relate, and caused you to want to continue reading it.

Let’s Discuss!

What is your WIP’s first chapter about? Can you describe it in Goal, Problem, and Care?

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How to Trust the Process

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(original post published in 2018)

Writers are often told that the best piece of writing advice is to write what you know, or build your platform . . . or anything related to writing that we strive to make better in our lives. However, the best piece of writing advice I have ever been told resonated with me in such a way that changed my thinking about my writing journey.

Trust the process.

That was the advice, plain and simple.

So many times we get caught up in our writing friends’ successes, how many books they have published, seeing how perfect their worlds seem that are so unlike our own clumsy path we’re trying to follow. And that’s discouraging. I’ve been there a time or two. When I started on the path to finding an agent, I was completely overwhelmed. What if I didn’t have enough “platform” numbers? What if my writing wasn’t good enough? What if no one would like what I wrote?

But I reached out to agents anyway and pitched my story to them. Some agents liked my story but it wasn’t a good fit for them. Other agents loved my story and wanted to work with me. Oh, now, that was exciting!

Then, just like getting a large papercut, I received some disheartening news. My platform wasn’t large enough. However, not to be discouraged, the agent encouraged me to do several things, and one of those things was to get a mentor. Now, I know what you might be thinking. Asking someone to be my mentor is super intimidating. But let me put you at ease. Even Stephen King and Francine Rivers had to start at the bottom, just like you and me. And writers are always helping other writers; that’s how we grow. So, asking an author you admire, who is further down the publishing path than you, to mentor you along is the best thing you could ever do.

I did that, and my mentor told me to trust the process, because I wasn’t sure how my platform would shape up. And for the past year, I have been (trying, praying to) trusting the process as I continue doing what works for me, whether it be writing blog posts, interviewing authors, sharing research information, or encouraging up-and-coming writers, because I know that if I continue to keep my pen sharp, my heart open, and my eyes on God, that this entire process of getting published will be well worth the journey.

God’s given you a process that only works for you, and no matter what your other writer friends are doing, He will never fail you.

Let’s Chat! I’d love to hear from you in the comments~

How have you seen your own writing journey blossom this year?

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Three Similarities in Theater and Writing

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(first printed Dec. 7, 2018)

“All the world’s a stage,” so they say, and a backdrop for what we experience, how we react and respond, what we do, what and how we learn.

For six years, I worked in theater, the person behind the scenes as production manager, costume assistant, seamstress, hair/makeup assistant, and as backstage rehearsal support. Long hours, late nights, and large cups of strong coffee were my best friends during those years.

And now as a writer, long hours, late nights, and lots of coffee are still my best friends. I get to work with a different type of “stage”: the backdrop of paper and the illustration of ink. And my characters are, well, the actors. And I’m the director. Or at least I try to be.

Do I miss the stage? You bet I do! A piece of my heart belongs to the world of theater, and I secretly want to join a traveling acting team. (Shhh, don’t tell anyone!) The picture above is special to me because it was a debut production. “The Scarlet Pimpernel,” and the actors who performed each role ravished students, faculty, and staff with its swashbuckling, wit, and intense moments during every night of the performance.

Delightfully enough, the acting and writing are similar. And without further ado, may I present three things wherein writing and acting similar.

  1. Creativity
    Just as the director must devise creative ways to direct the cast in how to produce just the right emotion, the right action, the right message that conveys the correct audience response, so does the writing need to create compelling characters, engaging plot, and a strong message that encourages readers.
  2. Conciseness
    Just as the script must include those actions, cues, and dialogue needs to tell a tight story with a lesson, moral, truth, or concept, so writing should convey a well-planned plot that presents only those details that further enhance the story’s message, the character’s desire/goal, and the author’s intent.
  3. Cleverness
    Just like every road has a turn, every great play has that twist, that sudden “What? No way! That can’t—” which catches the viewer off guard and sets them on the edge of their seat. Likewise, a great story will have that shock factor that grabs the reader by the throat or causes their heart to connect with the character, and thereby compelling the reader to read just one more chapter until they’ve reached the end.

My creative friends, seek to craft a work that is creative, concise, and clever, for in doing so, readers (and viewers alike) will have a wonderful reading (or viewing) experience.

Your Turn!

What other similarities would you add?

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ACFW: June 2019 Indiana Meeting

acfw, indiana chapter, june 2019

First pages are challenging. Wouldn’t you rather not have to go it alone? The June 2019 Indiana Chapter ACFW meeting is here to help guide and shape the first chapter of your manuscript.

Writers, if you’re near Kokomo, IN, you’ll not want to miss getting your first page evaluated by professional editors in the industry. Kind, gentle, but honest professional advice here. Oh, and lunch beforehand is available too! Click the link below for more details . . .

ACFW IN June 2019 event announcement