How to Learn Fiction-Writing Techniques With Less Pain & Frustration

By Jody Hedlund, @JodyHedlund

If you’ve been reading my blog long enough then you know I feel very strongly that writers need to grow in their writing ability by reading fiction how-to books.

Back in the days when I was first writing seriously (about twenty years ago), I devoured every how-to book I could get my hands on. I filled notecards with all of the things I was learning. And as I wrote, I’d flip through my notecards to help me remember everything.

Incidentally, I still have that stack of notecards and occasionally still read them. And I still regularly read writing craft books (usually when I’m between projects so that I can refresh myself and find new inspiration).

Now I realize not everyone agrees that writing craft books are helpful. Some people become overwhelmed by all of the information. Others feel stifled. Some even get discouraged to the point of quitting because they can’t seem to do things “by the book.”

Then there are those writers who don’t want anyone else telling them what to do. They feel that writing is an individualistic, subjective expression of our creativity (just like all of the other art forms).

Some may even say they can learn all they need by reading well-written novels, and that the rhythm of story and structure is picked up through saturating themselves with a variety of genres and stories (including the classics). Such writers might say things like, “Story trumps technique.”

The fact is, writers can come up with any number of excuses for why they don’t want to learn the basics of fiction-writing. And sometimes those excuses may even be valid, because after all, most excuses usually have a hint of truth to them, don’t they?

The truth is yes, sometimes we can try too hard to follow the rules and in the process get discouraged or end up with sterile writing. Sometimes we’re at risk of losing our individuality and creativity when we try to make ourselves fit into a prescribed structure. And yes, those of us who are avid readers may have a leg-up on how to tell a good story. Indeed, the story itself is critically important.

But the other truth is this—very few people are born as writing geniuses. I certainly wasn’t. Most of us have to learn how to write fiction similar to any other subject like typing, reading or algebra. And while there are many ways to learn how to write, one of the best ways to learn anything is to STUDY and then PRACTICE.

Here are few suggestions that might make the process of learning about writing fiction less painful and frustrating:

1. Wait to read a how-to book until after completing a first manuscript. Often we don’t know what we need to work on until after we’ve had some firsthand experience. Besides, there’s something about giving ourselves freedom with the first book to explore, be creative, and to nurture our imagination.

2. Check out several fiction how-to books from the library. When I’m able to browse through a book first, I’m able to see whether it contains information that will help me. Different books will speak to us more or less depending upon where we’re at in our writing journey. If we’re not selective, we might give up on how-to books too easily instead of continuing to search until we find one that meets our needs.

3. When reading, take notes on specific things to work on in the next novel. I usually read a how-to book when I’m in the pre-writing plotting phase, which helps inspire ideas and reminds me of what I need to incorporate.

4. Don’t try to work on everything all at once. That’s a bit like having too many cooks in the kitchen—a recipe for disaster (or at the very least discouragement). Trying to do everything perfectly or too much to soon can zap the joy out of writing and lead to writer’s block.

5. Look at writing techniques as guidelines not rules. I examine the “why” behind particular guidelines. What is the point of a technique? For example, plenty of books advocate against using adverbs. Why? Because the modern reader doesn’t want to be slowed down by wordiness. They want a succinct, tight read. But does that mean we can’t use any adverbs? No, if I’m doing my job at keeping the story moving, then if I drop in an adverb here and there, it won’t bother the reader or slow my story.

6. Find a balance. We shouldn't focus too much on technique at the expense of the story or it will end up lifeless. But we can't ignore the building blocks of good fiction because we think we have an awesome best-selling story. We might shoot our chance with an agent, publisher, or reader simply because they can't see past our mediocre or even poor writing techniques.

How about you? Are you taking enough time to work on your fiction techniques? What writing book has helped you the most from a practical standpoint?

Put Your Best Work Out There: Avoid These 25 Newbie Writer Mistakes

By Jody Hedlund, @JodyHedlund

When I'm judging contests, I can usually tell from the first page whether the writer is new (as in working on the first book or two), or whether the writer is more seasoned.

In fact, most of the time I can tell a writer's level of experience from the first paragraph or two.

There are a number of issues that distinguish newbies from more seasoned writers. Here are 25 mistakes I commonly see from a newer writer:

1. Starts the opening paragraph with flowery, verbose, or elaborate descriptions. (A seasoned writer will try to start with a hook, usually a life-altering situation or action.)

2. Stops the story/plot/action to describe a room or person or scene. (A seasoned writer will try to weave those descriptions in small pieces as the story unfolds.)

3. Describes any and/or everything. (A seasoned writer will pick strategic "props" to bring on "stage" that help convey a deeper meaning, theme, mood, or contribute to the plot.)

4. Neglects using sensory details or is too general. (A seasoned writer will try to include all the senses into scenes when possible and be as specific as possible.)

5. Forgets to refer back to the setting during the scene. (A seasoned writer won't just set the stage at the beginning of a new scene, but will continue to keep the reader grounded with interspersed details.)

6. Randomly hops around different characters' heads. (A seasoned writer will stay in one character's head or point-of-view until making a clear break into a different POV, usually at a new chapter or scene.)

7. Neglects to introduce a main POV character until too far into the book. (A seasoned writer will attempt to introduce all of the main characters, even if just by name, within the first portion of the book.)

8. Neglects to regularly give all POV characters enough time. (A seasoned writer may not perfectly alternate between POV characters, but they won't forget about one for too long.)

9. Doesn't stay true to character when in a specific POV. (A seasoned writer will get deep into a character's head and try to see everything from that character's perspective.)

10. Doesn't use contractions. (A seasoned writer knows that contractions help keep the story from being stilted and unrealistic.)

11. Over-addresses characters in the dialogue: "Mother, you’re such a dear. I just couldn’t live without you, Mother.” (A seasoned writer will be careful to eliminate all names that aren't absolutely needed.)

12. Uses large paragraphs of dialogue. (A seasoned writer breaks dialogue into succinct, short paragraphs, not giving one person the "soap box" for too long.)

13. Allows two characters to become "talking heads" where they converse without much else happening between them. (A seasoned writer will intersperse internal narration, action beats, setting details, or action within the dialogue.)

14. Conveys story information in dialogue that is solely for the benefit of the reader. (A seasoned writer looks for organic ways to weave in backstory and other information.)

15. Uses a wide variety of dialogue attributions other than the very basic words like said, asked, whisper, etc. (Seasoned writers try to make the attributions invisible to the reader's eye and almost always use said.)

16. Puts the attribution said before the character's name like: said Mother. (Seasoned writers will put the attribution after the character's name like: Mother said.)

17. Uses attributions with every bit of dialogue. (A seasoned writer will only use dialogue attributions when the dialogue needs the clarification often using action beats or other ways to clarify who is speaking.)

18. Includes chit-chat within dialogue. (A seasoned writer cuts out the ordinary, boring fluff and gets right to the meat of what's important in the conversation.)

19. Overuses adverbs to explain dialogue like: he said whimsically. (A seasoned writer will attempt to make the dialogue express itself.)

20. Uses verbs to stand in as dialogue attributions like: "This is going well," he laughed. (A seasoned writer will know that a character can't laugh, chortle, chirp, etc. a sentence.)

21. Uses clichés for description, characters, or even plot points. (A seasoned writer tries to disregard the first thing that pops into the mind and dig deeper for unique, fresh ideas.)

22. Explains or tells too much information. (A seasoned writer will resist the urge to explain and will attempt to show or lay subtle clues for readers.)

23. Overuse of -ing verb constructions at the beginning of sentences like: Running to the store, he talked on the phone. (A seasoned writer will be careful to express action clearly and succinctly.)

24. Doesn't make enough use of pronouns. (A seasoned writer uses pronouns because they're less clunky and mostly invisible to the reader.)

25. Drops in pronouns without clarifying the antecedent. (A seasoned writer makes sure the pronoun refers back to the last person's name that is mentioned.)

Those are just a few of my observations! Obviously, they're not "absolutes" because writing is a creative process and we can't box anyone in. I think it's unwise to say, "Never use adverbs" or "Never explain anything." When we take such advice literally, we risk having sterile stories.

Rather, I suggest using writing advice as a guideline. Use it to improve and stretch your writing muscles, but don't get hung up on it.

What about you? What particular piece of writing advice have you found the most helpful in taking your stories to the next level?

9 Ways to Grow in Writing Skills

By Jody Hedlund, @JodyHedlund

Can a writer improve through writing ALONE? Or does it take MORE than actual writing to become a better writer?

I definitely think that we become better writers by the act of writing. In fact I'd even go as far as saying I don't think a writer can truly grow without LOTS and LOTS of writing.

But . . . we could write book after book and still not take our writing skill to the next level. We could quite possibly fill our shelves with stories that never exhibit any significant growth from one book to the next. In other words, the process of writing itself is never a guarantee that we'll grow.

After writing over 15 books, I can testify to the power of prolific writing. It's absolutely essential to becoming a better writer. But I have always coupled my writing with learning. I intentionally find areas where I'm weak, I consciously look for new skills to incorporate into my stories, and I challenge myself to painful growth.

It’s out of massive writing PLUS determined efforts to stretch ourselves to grow in writing techniques that we eventually begin to move toward publishable-quality writing.

Here are 9 ways we can challenge ourselves to grow.

1. Get quality critiques.

Every critique helps me get a glimpse of my weaknesses. For example after one critique, I learned I was weak in adding sensory details to every scene. Another helped me realize I needed to maximize scene tension. A good critique will show us something—usually many things—that we can work on. I try to pick several key techniques from each critique to practice.

2. Read and study books INSIDE our genres.

Most writers read voraciously. We can try to get a feel for what’s popular within our genres and particularly with authors we admire. But we can also look at what makes those stories work. What draws us in? What makes us like the characters? What holds us to the end?

3. Read and study books OUTSIDE our genres.

Over the past couple of years, I've stretched myself by reading books that I might not normally gravitate toward. I've challenged myself to be a bit more eclectic. As I've done so, I've realized that I'm constantly picking up really good ideas from these non-genre books, techniques that I can apply to my genre (with a little tweaking). Sometimes the fresh perspective of a new genre can add freshness to our genre.

4. Devour writing craft books.

This is probably the way I’ve grown the most over the years. I've read book after book, borrowing most through the library. When I wanted to learn how to write by scenes, I read those books. To learn to plot better, I scoured plot books. As I attempted to write better dialogue, I checked out dialogue books.

Some writing books provide inspiration. But we have to delve into technique if we want to grow. That doesn’t mean we have to agree with everything we read, but we can always discover new ideas to try.

5. Take lots of notes and review them frequently.

I keep notes on index cards. When I read something helpful on a blog post, I jot it down on a card. When I find something in a book that I want to practice, I make a note. I pull out those cards, review them regularly, and they remind me of the things I need to work on most.

6. Discipline ourselves to write consistently.

Discipline and consistency help us become prolific. But then we need to take it one step further and actually practice what we're learning. Sometimes we have to slow down our writing process, at least temporarily, while we add in a new skill or two. For some writers, maybe the conscious application happens in the rewrite process. But the point is, we eventually have to take that head knowledge and let it shape the words we write.

7. Read writing-related blogs.

Most writers reading this post are probably already well on their way to searching out helpful blogs. We can learn a tremendous amount from one another in the writing community. I find almost all my links to writing related posts on Twitter, especially because I follow a couple of writers, @elizabethscraig and @thecreativepenn, who share great writing-related links.

8. Take online writing courses.

There are great webinars to choose from, classes, conferences—some for free and all from the comfort of our homes. Writer’s Digest.com consistently offers a variety of courses. Take a look at Writer's Digest University for all of their online workshops, tutorials, and resources.

9. Attend a local or national conference.

Conferences are an ideal time to rub shoulders with other authors, to talk about the craft, to brainstorm, and to glean ideas. In addition, we have the opportunity to sit under the teaching of some of the best authors out there, ask questions, and soak in their wisdom.

Besides the actual writing, what else has helped you to grow the most in your writing skill? 

The Value of Clocking In Time and Words

By Jody Hedlund, @JodyHedlund

I'm currently editing a book I wrote six years ago. It's actually the first time in ALL those six years that I've given the book more than a passing glance.

As much as I love the book, to be honest, I dreaded having to revisit it. It's a manuscript that took TONS of research. I spent weeks reading biographies, time period books, and piecing together hordes of information on the middle ages.

And now after writing at least ten other books since then and doing research on a plethora of other eras, the details I'd once absorbed and knew so intimately about the middle ages are no longer prominent. So not only do I need to edit my book, but I also need to refresh myself on all the research I'd done long ago.

As a side note, this is a book that my current publisher declined to publish because the subject matter and setting don't fit with their market or needs. Nothing was done with the book for many years even though I was anxious to pursue other options. But now that I have a new agent, we're moving forward and garnering some initial interest in the book.

I was really pleased that my new agent read the book and sent me a detailed letter expounding on some changes she thought it needed before sending out a proposal. She didn't mince any words, which I appreciated. Nevertheless, I knew once I delved in, I was going to find even more changes to make.

After finally gathering the courage to peel back the pages of the manuscript, I read it and brutally marked it up. Through the whole process, I learned several lessons.

1. After so many years away, I could see my work as though I was a stranger to it. I could read it completely objectively, almost as if I were reading the work of a critique partner, (except I could be truly honest without hurting anyone's feelings!).

I felt as though I was finally standing above my book looking down on it. I could see all of the problems with a clarity that I couldn't when I was living between the pages after I'd first written it. I could pick out the weaknesses in my earlier style: lack of setting details, lack of depth of character emotions, unlikeable characters, indistinct cardboard minor characters, and other issues.

2. I realized that I'd learned a lot about how to edit over the past six years. After working with professional editors with my current publisher on numerous books and after partnering with many different critique partners, I've learned how to spot things that wouldn't have been on my radar if not for having learned from those more experienced than myself.

3. Most importantly, I learned that after writing so many additional books, I'd matured as a writer. After gaining the writing experience, I can finally see how far I've come, how I've honed my voice, how I've gained confidence in my writing abilities.

Six years ago I thought I was mature already. I'd studied lots of writing craft books. I'd written a number of "practice" books. I'd worked hard at consciously improving my writing. In fact this book underwent numerous edits (including a paid edit). It even finaled in a national contest for unpublished writers.

It was solid. And at the time, it was my very best. I'd done the absolute best for where I was at. No matter how many more times I would have edited it, I just wasn't capable of doing any better.

The truth is, nothing thing can mature us like time AND lots of writing. After six year and writing thousands upon thousands of additional words, my writing muscles are so much stronger. I have more clarity, vision, and depth.

All the clocking in of time and words has changed my writing in a way that editing alone never could.

After six years, I can finally begin to see the difference between then and now. I hope in another six years I'll see even more maturity.

My advice: Don't get stuck editing a book to death. Move on to writing new books. Keep learning about the craft of writing. And allow time and lots of writing to mature you.

What about you? Have you pulled out old manuscripts and been able to spot mistakes? In hindsight have you seen your growth?

Top Two Pieces of Writing Advice

By Jody Hedlund, @JodyHedlund

At speaking events or during interviews, I'm often asked to share my top writing advice to aspiring authors.

Obviously, there are LOTS and LOTS of writing techniques I could share (and have shared on my blog). See my For Writers Page where I have writing tips listed by categories.

But rather than doling out advice like "Make your characters come alive" or "Avoid clichés" or "Add tension to every page" I'd much rather share what has helped me the most. After all, every writer will learn to apply writing techniques in their own unique way. What worked in my story to make it riveting may not work in someone else's.

However, I think there are some general principles that can help ALL writers, no matter their genre, no matter their age, and no matter their publication goals. I've seen this advice work for me, and I've also seen the advice work for other successful authors.

So here are my top 2 pieces of writing:

1. Always keep learning.

Early in my writing career, I read just about every book about how to write fiction that I could get my hands on. No, I didn't agree with everything I read. But I soaked it all in, took lots of notes, and sorted through the advice. The information was invaluable in helping me learn to become a good writer. It was like earning a "college degree" in writing.

Now that I'm more seasoned, I still read writing craft books. I'm a bit more particular in what I pick up, but my favorites include anything by James Scott Bell, Donald Maass, and Noah Lukeman.

My methods of learning have expanded now to include the writing information I find online. See my blog sidebar "Help for Writers" for some of the blogs I follow.

I also learn a great deal now from critique partners and my in-house editors. In fact, I was recently emailing back and forth with one of my editors about some of the techniques he was encouraging me to work on in a book we're editing. He said this: "Keep pushing yourself . . . We’re all of us always in training."

Even the best editors know that writers will always need to keep learning and training in order to stay fresh, relevant, and riveting.

2. Write prolifically.

"Prolific" is a subjective word. What might be an abundant amount of writing for one author might be sparse for another.

When I wrote my first published book, The Preacher's Bride, I could only write about 500 words a day. At the time, I had a baby and a toddler, along with three elementary aged children. Getting in those 500 words a day was a huge challenge for me. I was usually chasing after kids, and by the end of the day, I was exhausted. But I forced myself to eke out those 500 words a day, rain or shine. And the effort produced a full length novel in a year.

Now that my kids are getting older, 500 words a day would not be challenging enough. Instead I give myself much more demanding goals. Rather than one book a year, I've already completed three, along with an assortment of other writing projects.

My point is that in order to become better, we have to write, not dabble at it. We need to push ourselves to accomplish a little more than we think we can. And while we're challenging ourselves to write more, we also need to make a conscious effort to put into practice the things we're learning (in point 1 above).

I can honestly trace my success to the above two pieces of writing advice. And it's advice I'll keep following if I hope to continue to be successful.

How about you? What is YOUR number ONE piece of writing advice?

Do You Have This Important Tool In Your Writer's Toolkit?

By Jody Hedlund, @JodyHedlund

I'm currently between manuscripts. I finished editing a book in June, turned it in to my publisher, and now am busily researching my next book.

The research stage is always a bit of a break for me. I don't have the daily pressure to write a certain number of words. And I don't need the intense focus required during editing. Even though I try to accomplish several hours of research per day, my daily goals are less intense.

During the research lull between books, I usually attempt to make a dent in my to-be-read pile. While I've always considered reading one of life's greatest pleasures, I've also come to realize that as a fiction writer, reading is a necessity in becoming a better writer.

The more a writer reads, the more familiar they become with story-telling. In fact, if you grew up like I did, with a book permanently attached to your hand, then writing fiction is probably somewhat intuitive. You already have a good foundation for what comprises a well-told story, even if you can't quite put those techniques into fiction-writing lingo.

Even so, I recommend that all writers, no matter how much fiction they've read, STILL take the time to familiarize themselves with the craft of writing fiction. Even if we think we know how to write, we'll only give ourselves even more of an advantage by familiarizing ourselves with story structure, plotting techniques, character building, etc. I find that I pick up new tips every time I read a fiction craft book.

In the busyness of life and writing, however, I'm becoming more convinced that writers NEED to make the time to read fiction, particularly within their genre. But I've benefitted in reading way outside my normal comfort zone as well.

Maybe we won't be able to read every day or even every week. Maybe you'll read in spurts like I do. Whatever the case, we can't let guilt inhibit us from pursuing a passion for reading—guilt from the constant pressure to be doing something "useful" when we're not writing, like being on social media building a web presence and marketing our books.

Reading is part of the toolkit in becoming a better writer—particularly when it's coupled with intentional evaluation. 

Nowadays, I have very little choice but to evaluate the books I read. My internal editor never (or at least very rarely) hibernates. So I'm always critiquing the books I read, whether I want to or not. I've been known to take notes and even get out a highlighter and mark up my novels.

When I read something I like, I ask myself these questions:

• What made that particular scene resonate with me?

• Did the plot grip me? And if so, what techniques did the author use to keep my attention?

• Did I like the characters? And if so, what about the characters made me empathize with them?

When I read something that falls flat, I ask myself some of these kinds of questions:

• Why didn't the scene draw me in right away?

• If the plot plods along, why? What's slowing it down?

• If I don't fall in love with the characters, what's keeping me from liking them?

Recently, I was traveling home from a family wedding, and during the long van ride I was reading a book by an author I normally love. But for some reason, her latest book had failed to keep my attention. I started going through the above questions, and I came to the conclusion that the plot was plodding because the story lacked a threat (or antagonist) to the characters. And I hadn't fallen in love with the characters because they were mostly consumed with their own desires.

All that to say, while I was reading, I was "working." I was growing in my writing skill. I was consciously looking at techniques I could use in my stories as well as issues I could avoid.

Not only does reading help us grow in skill, but it also helps us be more market-savvy. My editor said this in a blog post last week: In finding the “original” for your story, your greatest weapon is going to be your reading. You need to know what’s out there, what’s already been done. You need to read fiction.

So writers, next time you feel guilty for reading (or your spouse asks you why you just bought another book!), remember you're working. Because for a writer, reading should always be part of the job.

How much do you read? Do you ever feel guilty for reading, like you should be doing something more productive?

Do Writers Get Better the Longer They Write?

“The more you do something, the better you get at it.”

We’ve probably all heard that at one time or another. But is it really true? Especially when it comes to our writing?

Can we honestly say that the more we write, the better we’ll get?

I’d like to believe that the longer I write and the more books I have under my belt, the better I’ll get.

After all, in the writing world, we like telling each other: “Persevere. If you write long enough, you’ll eventually be ready for publication” or “Keep putting in the time, and you’ll find success.”

All of that sounds nice and cheerful and very raindrops-on-roses.

But is it true?

Here’s what I think: Yes and No.

YES, we’ll likely get better to a degree over time.

1. Consistent writing can help strengthen our creative muscles. I’ve found that when I’m writing every day, I have a much easier time sitting down to my laptop and jumping back into my story world than those times when I’m sporadic.

Not only does the daily writing help the flow of my story, but I also find that regular writing enables me to think of words quicker, find plot solutions easier, and weave in descriptions better. Overall I’m able to write with more ease.

The creative parts of our brains are similar to any other muscle in our bodies. The more we engage them, the stronger and more flexible they become.

2. Regular writing can also help us improve our speed. I’ve also found that over time, I’m able to challenge myself to higher and higher daily word count goals (and weekly totals). With The Preacher’s Bride I made myself write 500 words a day. At that time, with a baby, toddler, and three elementary children, that was all I could manage.

With the book after that, I increased my daily word count goal to 800 words per day. During the next several books, I challenged myself to 1000 words a day. And now, with the book I’m currently working on, I’m up to 1200 words on a daily basis (or a weekly total of 7000).

I couldn’t have jumped into 1200 right away. But slowly, over time, I’ve worked my way up to doing more. In order to improve, we have to challenge ourselves to operate in the zone where it’s just slightly uncomfortable.

3. Disciplined writing helps us take our writing careers more seriously. Those writers who persevere in writing on a regular basis are developing self-discipline that can carry over into other aspects of our writing careers. When we guard our writing and take it seriously, then we’re more likely to show the same professionalism in other areas of our career.

NO, writing in greater frequency for long periods of time doesn’t guarantee success.

1. Just because we’re doing something all the time, doesn’t mean we’re getting better at it. Think about a person who jogs every day. Perhaps they’re perfectly content to jog two miles in twenty minutes for an entire year. That doesn’t mean they’re getting faster or gaining endurance. After a year of jogging at the same distance at the same pace, they aren’t automatically going to be able to run a 5K and finish in a decent time.

The same thing is true of writers. Just because we write 1000 words every day for an entire year, doesn’t necessarily mean we’re ready for publication. If we want to improve (in anything) we have to make conscious steps to push ourselves to do and learn more.

With each first draft, I try to pick a couple new techniques to intentionally work on. At first, I have to think about the technique and make a concerted effort to implement it. But eventually, it becomes effortless and natural. And then I challenge myself to put into practice something else new.

2. The longer we write, the more potential we have for stagnating. We can grow too comfortable with our style, voice, and stories. Our books can start to have a cookie cutter feel. Instead of pushing ourselves to think deeper and harder and find fresh ideas, we stick with what we’re used to.

As I'm currently writing my fifth book for Bethany House Publishers, I’m realizing I need to brainstorm harder, search for new twists, and fight for original metaphors and descriptions—so that I don’t serve my readers leftovers.

My Summary: If we really want to get better at writing, then yes, we need to keep doing it day after day. But we can’t stop there. We have to consciously challenge ourselves to grow in our skill too.

So how long have you been writing? Do you think the longer you write, the better you get? Or do you think other factors (besides the passing of time) are necessary for growth?

Why Every Writer NEEDS As Much Editing As Possible

I recently received an email from a writer who had self-published his book but had decided against professional editing because of the extra cost that was involved. I got the feeling that he later regretted his decision.

He asked me this: “With a professional edit and help promoting it, I think the book has potential. I’m stuck on what to do next? I hope you can help?”

Of course, I emailed him back my initial thoughts, and I referred him to a recent post Master the Craft of Writing by my agent, Rachelle Gardner. Basically, she said that most traditional publishers are offering less editing. And as more writers try self-publishing, the levels of editing will vary depending upon how much a person is willing to invest.

In other words, overall, there are more books hitting shelves that have NOT had the intense scrutiny and depth of professional editing that has been typical in the past.

At the same time, there’s been an explosion of online review sites. Readers are becoming more vocal—about both the good and the bad in books. In fact some reviewers are very blunt—they say exactly what they like and don’t like about our stories, down to the tiniest detail.

As the quality of editing is decreasing and reader reviews are increasing, the NEED for editing is becoming more critical in today’s market. Whether we self publish or go the traditional route, we can’t afford to sit back, put our manuscripts out there, and hope for the best. We only hurt ourselves by NOT investing time (and money) into editing.

So what are the benefits of editing?

1. Editing helps please our readers.

We definitely can’t neglect the line and copy edits. Readers don’t want to be taken out of the story because of simple grammar, spelling, or punctuation mistakes. Even worse is when we neglect the substantive edit that can solidify our plot and characters. If our story lacks the pizzazz that comes from the big substantive (or content/macro edit,) readers may not exactly know why they don’t like the book, just that they don’t.

My books have undergone many, many intense edits (read about it here and here). And readers still find faults. I can’t imagine the feedback from readers if my books hadn’t been through all of the various levels of editing.

2. Editing helps us grow in our writing skill.

Every time I have an edit, either from my critique partner or my in-house editors, you can be sure I learn something new. Each tough edit pushes me to examine my weaknesses and then to work at improving them. Without that critical feedback, I wouldn’t have known what areas I needed to grow in. Editing has been one of the best things for my writing career in helping make my books successful. The tough feedback has challenged me to move beyond mediocre and to make my stories really shine.

3. Editing helps us maintain professionalism.

We have a lot of competition for our reader’s attention (internet, movies, video games, busyness of life, etc). We risk pushing readers into their love affair with the competition even more if we rush to put poorly edited books out there. As a writing community, don’t we want to work together to keep our readers and maintain a high standard for our work that sets us apart as professionals? If we consistently put sub-standard work in front of readers, we risk diminishing our profession altogether.

So what do you think? Have you ever skimped on editing because you were in a hurry or didn’t want to invest in the time or money? How do you think editing benefits writers?

Do Writers Need a GPS or Not?

I love my GPS. Last week I drove two hours to Grand Rapids, Michigan for an evening book signing. I’d never been to the bookstore before, and I knew I’d be driving through the city during rush hour. So I was extremely grateful for the navigation voice alerting me of my exit, directing me to the side of the highway I needed to be on, showing me exactly how many miles and minutes I had left, etc.

The GPS (global positioning system) got me to the hotel in plenty of time to refresh before I needed to go over to the bookstore. Or at least I thought it was my hotel. As it turned out, I’d punched the wrong address into the GPS. I was naïve to assume Grand Rapids had only one Country Inn & Suites. Somehow in the time between reserving the hotel and looking up the address, I’d landed upon the wrong one.

Anyway, with some phone calls and mad dashing, I made it to the right hotel and eventually to my book signing. I had a great time, especially because my daughters came along and we got to have a fun girl’s night together.

I didn’t really need the GPS on the way home. Once I navigate somewhere, I can usually find my way back home without too much difficulty.

In using my GPS, I’m realizing there are times when the precision is necessary and times when it isn’t.

Which is a lot like writing. Sometimes we need precision and sometimes we don’t. The dilemma is very much like the old question writers toss around, “How closely do we need to stick to the writing ‘rules’ and when is it okay to break them?” Should or shouldn’t we use adverbs, dialog tags, dumps of backstory, describing emotion, telling instead of showing, etc.?

On the one hand we’re given a lot of advice in fiction technique books and from blogs (like mine!) about how to write. On the other hand, we’re told to make sure we tell the story using our own unique voices.

Do we need to be so nitpicky? Or can we give ourselves some leeway?

How much leeway we give ourselves depends on how familiar the route has become. Like I said, when I’m traversing a new route I need the precision, the help, the guidelines. When I have the assistance, I'm able to get to my destination without the worry of getting lost or meandering too much off course.

With a first book, I suggest that writers enjoy the creative process, put aside any thoughts about rules or publication, and just learn how to develop a good story. But by the second book, a writer can travel the publication road more smoothly by using the navigation system of writing craft books and putting into practice more precise fiction techniques.

Once we’ve written several books and have become familiar with our style and voice, then we’re ready for a little more flexibility. We can try new things and veer slightly off trail. As I’ve put into practice the basics and foundations of writing fiction over the years, now I’m much more comfortable with how to manipulate them for my purposes. I’m able to discern when it works to break a ‘rule’ and when it doesn’t.

In navigating through the fiction world, it’s easy to take extremes. I’ve met some writers who are too precise, who stick too closely to the writing ‘rules.’ Being overly nit-picky can often lead to a cold, heartless story that reads too much like a road map.

I’ve also found some writers who reject any fiction-writing GPS help altogether. They’re determined to get to the end their own way. That can lead to writing that is equally hard for readers to get through.

What’s your opinion? Do you think writers need to spend time learning to navigate with fiction-writing techniques first? Or do you think writers should set their own courses and do whatever works for them?

Two Extremes Writers Take & How To Avoid Them

Why do we writers tend to become extreme in our opinions? Are we just passionate by nature and therefore quick to form strong feelings about certain issues?

Recently I got this comment in response to a blog post about growing in our writing skill: “This is such a lame post. Only shills of trad pubs speak like this. Reading how-to writing books and taking classes only make you write the same drivel as anyone else.”

Wow! Talk about strong feelings against reading writing craft books! And of course I don’t agree with the statement. But it made me realize how often we fall into the trap of seeing things in black and white.

So often we take an all or nothing approach when it comes to many issues within the writing industry. When it comes to the issue of learning how to write, here are two extreme approaches I’ve noticed:

Extreme #1: Writers who read how-to books risk writing the same drivel as everyone else.

How often do we hear, “It’s ALL about the story”?

Well, I’m going to go against the grain and say, NO, it’s not ALL about the story. In fact, we can have the best story known to humankind since the beginning of time, but if we don’t know how to tell it in a way that appeals to readers, we might as well keep our fantastic story for our own personal enjoyment on our hard drive.

We have to learn to craft our stories so that others will want to read them. In order to do that our stories need a framework, or structure, much like in building a house. We can’t throw together a bunch of bricks and shingles, slap some paint on it, and hope to have a house—at least one that’s livable.

Rather, we have to follow some basic guidelines, have a solid foundation, erect beams in correct places, put the floor on the bottom and the ceiling on the top. Yes, every house has those basics. Every house NEEDS them to be able to stand.

Books are built too. They have structure. And it’s within the framework of plot acts, character arcs, and scene & sequels that a writer’s creative and unique story-telling ability should shine. Within the hallways and rooms of our stories, we can color, decorate, and bring our special touch to the words.

We don’t risk writing drivel when we learn to craft stories. Instead, we’re being smart about building sturdy books in which readers can “live” with pleasure.

On the other hand, we do risk writing drivel when we try to decorate our stories like Pottery Barn or Better Homes & Garden (copying other writers) when we really should let them reflect our special personalities, interests, and life experiences.

Extreme #2: Writers have to learn all the “rules” before we can have a publishable book.

As you know from this post: My Writing Success: The ONE Thing That Helped Me Most, I strongly encourage writers to study fiction how-to books, put into practice basic techniques, and learn what constitutes salable fiction in today’s market.

However, I think many of us, particularly those with perfectionistic tendencies, get caught up in the need to make our stories technically perfect. We get so focused on writing without dialog tags, trimming exposition, eliminating adverbs, formatting the manuscript, and a myriad of “rules” that we lose ourselves and the beauty of story-telling in the process.

To carry on the house-decorating analogy, we end up with an interior that lacks vibrancy. Maybe we trim so much that our stories have as much warmth as a sterile convalescent home. Or maybe we add so much that our books resemble gaudy, over-decorated Victorian parlors. We get fixed on the details, the minutae, instead of the bigger picture.

The Preacher’s Bride wasn’t technically perfect when I landed my agent and book contract. But I’d taken the time (years) to study fiction-writing basics. My structure was solid. And within that framework was a gripping story.

My Summary: We can go from one extreme to the other. On the one side we can give the story TOO much freedom (and not enough structure). And on the other side, we can let the rules have TOO much control (and forget the story).

My encouragement is to find a middle ground. Know the basics of fiction-writing, the elements that comprise well-crafted stories. But also tell the best story possible without worrying that everything is perfect.

What’s your opinion? Is it ALL about the story? Are writers at risk of writing drivel when they read fiction how-to books? And if you think writers need structure, how can we avoid letting the “rules” have too much control over our stories?

Can Reading Great Books Really Help Writers Grow?

I talk about growth a lot on my blog. In fact, if you haven’t noticed, I'm pretty passionate about it. I want to keep growing in my writing skill. I continuously challenge myself to improve. It’s my hope to encourage you to do the same.

There are numerous ways writers can grow. Obviously, first and foremost we need to be consistently writing. In fact, I recommend that beginners write the first book for themselves, enjoy the process, and let creativity have full freedom. We often don’t know what we need to learn until we start putting words on the page.

However, the act of writing in and of itself is not enough to help us grow. Eventually, we need to couple it with learning.

If we’re learning how to cook, we have to step in the kitchen and begin with basics. But if we hope to grow in skill, we need to pull out cookbooks, turn on the cooking channel, and go beyond boxed macaroni and hotdogs. We have to experiment, try new recipes, and get help from those who are further along. We’ll have trial and errors, sometimes food only worthy for the dog dish. But eventually, with the combination of practice and learning, we’ll be able to create edible, even palatable dishes.

Writers have to move beyond just the act of writing if we hope to improve our skills. We can read how-to books, go to conferences, participate in online workshops and classes, and get feedback from critique partners or contests.

But what about learning from the books we read? I’ve heard some writers argue that THE best way to learn how to write is by reading “great books.” Some writers believe we need to read voraciously and widely within and outside of our genres in order to grow.

Is reading “great books” really the best way for writers to learn the craft? Will reading voraciously really make us better writers?

I believe reading “great books” can be one way to help us grow. And I also believe reading voraciously can help us too. But . . . most writers DON’T grow from their reading experiences and here are few reasons why:

1. Great books can teach us only if we’re willing to become a student.

My kids and I recently finished The Bronze Bow by Newbery Medal author Elizabeth George Speare. As we were reading I was particularly aware of the way she developed character arcs and used symbolism.

I made a point of studying her techniques and discussing them with my children. But how many of us consciously study books when we read them? Most of the time we read for pleasure and our brains don’t stop to analyze writing techniques. If we hope to learn from the masters, we have to intentionally become a student.

2. The act of reading well doesn’t transfer into the act of writing well.

As I’ve said before, the effortlessness of reading does not easily transfer to the painstaking-process of putting words on paper. Just because someone is a voracious reader doesn’t mean they will be able to write well. Fellow blogger Julie Nilson said this in a recent comment: “The WORST manuscript I ever read was by a high school lit teacher (really!), so it's not like she hasn't read great writing.”

3. The definition of what constitutes “great books” is subjective.

I’m a part of a literature discussion group. We read plenty of "great books"—classics, myths, and award-winning authors. Among these “great books" we have a wide variety of responses. I'm always amazed when I think a book is completely worthless and someone else loves it, or vice versa.

In compiling reading programs for my children over the years, I’ve run across numerous lists (i.e. One Hundred Great Books, Books Everyone Should Read, etc.). While there might be some overlap, the lists are always different and ever-changing.

How do we decide which books are "great" and worthy to be our teachers? Is it even possible to come to a consensus? Should we even try?

4. Many of the past “great books” use out-dated writing techniques.

If I emulated the style of writing in Little Women or Treasure Island (both of which I’ve read), I would have no hope for publication in today’s market. The writing styles of a hundred, fifty, even ten years ago have changed. While I may be able to learn something about what constitutes good story-telling from the classics, that doesn’t mean I’ll be able to learn how to write commercially viable fiction from them.

My Summary: Yes, we can learn how to write better by reading other books—if we’re intentional. But reading fiction is not THE only way or even necessarily THE best way. It can comprise part of our learning process. But we need more than “great books” and voracious reading to help us become better writers.

We need a well-rounded writing apprenticeship that involves a variety of learning experiences.

Your turn! What's your opinion? What place do you give "great books" in your writing education? Do you think reading "great books" or reading voraciously is the best way to learn? Or do you give more credence to other methods of learning?

Why Every Writer Should Complete More Than One Book

Completing the first book is a wonderful experience. And any writer who has done so deserves a big high five. There are countless people who say they want to write a book. Usually, all we need to do is mention we’re a writer, and people come out of the closet to tell us the book ideas they have or the fact that they’ve always wanted to write a book.

But most of those people never write their books—the ideas don’t move beyond their heads to paper. And out of those who gather the self-discipline to start one, many never finish.

Why do so many never finish the first book?

Because they soon realize that writing a full length book from start to finish is time-consuming and complex. They quickly understand that the ease of reading is not duplicated in the pain-staking process of crafting words and plot.

And let’s face it, while most of us have the innate need to express ourselves, not everyone is wired to communicate through the written word. There are many other ways to give voice to the passions inside—through music, speaking, art, baking, etc.

Whatever the case, if someone sets out to write a book and then actually completes it, they’re well ahead of the majority of wannabes. I applaud anyone who has climbed the mountain of finishing their first book. It’s a monumental feat and those who reach the summit should be very proud of themselves.

However, I’ve noticed that many writers tend to camp out on Mt. Book 1. Perhaps they have plans to scale the distant slope of Mt. Book 2. But for whatever reason, they hang out way too long on Mt. Book 1, and keep putting off the next hard climb.

I’m not begrudging the need to celebrate and savor the accomplishment of finishing the first book, nor am I saying writers don’t deserve a break after all the hard work. But . . . all too many writers take up permanent residence on Mt. Book 1 and never move on.

Here are several reasons why writers need to push themselves up the next hard climb of another book:

We have the potential to grow with each book we write.

There’s never the guarantee we’ll grow just because we write another novel. In fact, we could write ten books and never really improve. But there is the potential to get better—especially if we make a concerted effort to learn and apply basic fiction-writing techniques in each new book we write.

The Preacher’s Bride was approximately the sixth full length novel I wrote. I can’t imagine how much my writing career would have stalled if I’d camped out on my first book (or even the next couple) and waited for an agent to take an interest. I wouldn’t be where I’m at today, not by a long shot.

There are geniuses in every field, those rare people who have extraordinary talent—like Mozart, who was born playing the piano. But most of us have to work hard to achieve success (even when we have talent). It’s somewhat unrealistic and perhaps even a bit presumptuous for the average writer to assume they’ve “arrived” at Book 1.

Industry professionals will take us more seriously.

More than one book shows professionals we’re in the journey for the long haul. Most agents and editors are interested in investing in writing careers not just one book. By completing multiple books, we demonstrate to agents and editors that we have many of the same characteristics that go in making a successful writing career—stamina, perseverance, determination, and self-discipline.

We occupy ourselves during the long waits that are a part of the business.

The waiting in the industry can be unbearable at times. Whether a query, request, or contract, the waiting takes weeks, often months. Instead of driving ourselves crazy checking our inboxes, we should get to work and write another book, one even better than the last. That way if an agent or editor doesn’t think they can sell the first one we’ve given them, we’ll have another to offer, perhaps one even better.

We increase our chances of publication.

Even if a writer’s book is of publishable quality, it may not meet a current market need. Sometimes an agent or editor may like our voice and skill, but they reject us because they don’t think they’ll be able to sell our particular story. Having another one to offer them right away, may give us another shot.

I turned in two completed novels to my publisher before I was contracted. And they only bought one. Both of the books were equitable in skill level, but the one they rejected had a setting and time period that doesn’t sell as well. What if I’d only turned in the book that they didn’t think was as commercially viable? What would have happened to my writing career then?

My Summary: Writers write. So why stop after the first book? Why not keep on writing?

So what do you think? Have you camped out on Book 1? If so, why? Do you agree or disagree with my philosophy that writers serious about publication need to push themselves beyond Book 1?

8 Ways Writers Can Push Themselves To Grow

I’m always surprised when I run across other writers who turn up their noses at the idea of learning more about the basics of fiction-writing. Yes, I definitely think that we grow by writing—and in fact, can’t grow without LOTS and LOTS of writing.

But. . . we could complete book after book and still not take our writing skill to the next level. We could quite possibly fill our shelves with stories that never exhibit any significant growth from one book to the next. In other words, the process of writing itself is never a guarantee that we'll grow.

If we go back to the writing-college analogy I used in the last post, turning up our noses at learning would be like saying we want to remain a freshman year after year. I’m convinced that if we want to get to graduation-level writing, we have to intentionally find areas where we’re weak, consciously look for new skills we can incorporate, and challenge ourselves to painful growth. It’s out of determined efforts to stretch ourselves that we eventually begin to move toward publishable-quality writing.

Sometimes writers get frustrated with traditional publication and the doors that keep closing on them. Instead of persevering toward maturity in their writing skills and pushing themselves to grow, they may seek out self-publication. Now, I'm not saying that's why everyone chooses to self-publish or that all self-published authors have immature writing skills. But I am saying we need to take a closer look at why traditional doors are closing, and it's often because our writing isn't ready.

Here are 8 ways we can challenge ourselves to grow. (The first five have helped me the most.)

1. Get quality critiques. Every critique helps me get a glimpse of my weaknesses. For example after one critique, I learned I was weak in adding sensory details to every scene. Another helped me realize I needed to improve in maximizing scene tension. A good critique will show us something—usually many things—that we can work on. I try to pick several key techniques to practice in my next novel.

2. Read and study books within our genres. Most writers read voraciously. We can try to get a feel for what’s popular within our genres and particularly with authors we admire. But we can also look at what makes those stories work. What draws us in? What makes us like the characters? What holds us to the end?

3. Devour writing craft books. This is probably the way I’ve grown the most over the years. I read book after book, borrowing most through the library. When I wanted to learn how to write by scenes, I read those books. To learn to plot better, I scoured plot books. As I attempted to write better dialog, I checked out dialog books. Some writing books provide inspiration. But we have to delve into technique if we want to grow. That doesn’t mean we have to agree with everything we read, but we can always discover new ideas to try. (Check out my sidebar for my favorites and the Helpful Writing Books link.)

4. Take lots of notes and review them frequently. I keep notes on index cards. When I read something helpful on a blog post, I jot it down on a card. When I find something in a book that I want to practice, I make a note. I pull out those cards, review them regularly, and they remind me of the things I need to work on most.

5. Discipline ourselves to write consistently. And practice what we're learning. Sometimes we have to slow our writing process down, at least temporarily, while we add in a new skill or two. For some writers, maybe the conscious learning happens in the rewrite process. But the point is, we eventually have to take that head knowledge and let it shape the words we write.

6. Read writing-related blogs. Most writers reading this post are probably already well on their way to searching out helpful blogs. We can learn a tremendous amount, but sometimes it’s also downright overwhelming. Several bloggers do weekly round-ups summarizing the best blog posts of the week. One of the most thorough, with links to dozens of articles for every type of writer, is by Adventures In Children's Publishing. (Check out their round-up every Friday.)

7. Take online writing courses. There are great webinars to choose from, classes, conferences—some for free and all from the comfort of our homes. Writer’s Digest.com consistently offers a variety of courses. My agent, Rachelle Gardner, led a WD's webinar last week about how to hook an agent or editor with a query. Take a look at their online events page for future webinars.

8. Attend a local or national conference. Conferences are a great place to connect with other writers and to build important friendships. But because of the socializing, I have a hard time focusing on workshops and learning. That’s not to say writers can’t learn at conferences, but I’ve found I can learn the same information in books most of the time. I love conferences, don’t get me wrong! But if the top reason for going is to grow in writing skills, there are much cheaper ways to learn.

From the list I've given, what would you say has helped you to grow the most? Are there other ways writers can grow that I’ve missed? Please share!