Writers On The Move

Writers: Will Outlining Your Story Save Time?

Map of the imaginary town of Pine Hill
in my upcoming book, Secret in the Mist.
Illustration by artist Danika Corrall

By Linda Wilson @LinWilsonauthor

Are you a pantser or an outliner? Pantsers, as many writers gleefully describe, don’t outline their story beforehand. They write as their stories come to them. I’ve done both and have found that both writing styles work, depending on the story. Some stories show up on the page fully written, perhaps after becoming fully formed in the mind before any writing begins. Stories like that are terrifically satisfying.

For the stories that don’t come out quite as clean, an outline, bulleted ideas, or a diagram, might be necessary. Case in point is the book I’m currently preparing for publication, Secret in the Mist, the second book in the Abi Wunder Mystery trilogy. The book began with a detailed outline. During writing, I immediately veered away from my plan, and that’s where I think the problems began. Unfortunately, I lost track of the whole picture. For a 20,000-word chapter book that should have taken about a year to write, my pantsering wound up taking 3+ years, and counting (the book isn’t quite done yet, but very, very close!) The Mist story is nothing like it was when I first began. In retrospect, I think most of my problem was that I didn’t think the story elements through from the get-go. I just kept writing without checking the overall story structure, and including scenes that didn’t move the story forward, which I later had to slash and burn.

Now that I’m in the final stages of readying the book for publication, I would like to pass on some ideas to avoid the pitfalls I fell into. Hopefully, these will save you time and effort and get your book(s) out into the world in a reasonable time frame.

Pantser or Outliner, Decisions to Make Before Beginning to Write

Story problem: Examples: Something goes missing, as in the first Encyclopedia Brown story, Encyclopedia Brown, Boy Detective, “The Case of the Civil War Sword,” by Donald J. Sobol, where the sword is stolen; a secret that needs to be revealed as in Little Mouse’s Big Secret, by Eric Battut, when Little Mouse finds a delicious-looking apple and doesn’t want to share it.

Write your pitch: In as few words as possible, write what your story is about. Even if you have to tweak your pitch line later, writing it now could help keep you on track. Here are a few examples from the files of Chris Eboch, full-time writer and editor, https://chriseboch.com:

Before: Maddie Winters has never been in a long-term relationship.

After: Maddie Winters doesn’t do commitment.

Before: She was wrongfully convicted. The cops want her back in jail. But this stone-cold victim has her sights set on payback.

After: Framed for murder. Hunted by the law. Ready to take her revenge.

Lists to Make Before Beginning to Write

Characters: Make a list of your major and minor characters, describe them, their role in your story, and give each of the main characters a story arc—a beginning, middle, and end, and how they’ve grown. Please note: At a book presentation early on, I asked the children in an elementary class for comments. What did they like about the story? Dislike? One fourth-grade boy advised that I should always include animals in my children’s stories. I took his advice and include animals, described in loving and fun terms, for my readers to enjoy. Please note: Cutting pictures of how you envision your characters out of magazines and hanging them up while you write is a good step in understanding who your characters are.
Try starting with the ending: Beginning my next story with the ending will be a first for me. I’m challenged. Plot out the ending and work your outline, bulleted points, and/or diagram from there.
Make a scene list: Creating a scene list on 3x5 cards is handy because if a scene doesn’t move the story forward, discard the card(s). After you’ve thought of all the scenes, lay the cards in front of you and see if you can organize the story. Writing should hopefully be made easier.
Make a diagram of the plot: I use large poster-size paper for this and begin by drawing a large arc. Plot points can be added, showing the rise of tension and suspense, and stopped with satisfying ending. I like to make my endings illustrate or circle back to the beginning.
Establish the setting: Whether you choose a familiar setting, such as at school, in the neighborhood, and/or at home, or a setting in an exotic location, include details that will create intrigue. Find a map or draw a map so you can fully navigate throughout your setting.
Capture the details: Keep the details accurate and consistent throughout your story.
Plan for follow-through: Keep track of your main character’s activities, dialogue, and thoughts so that by the end of your story, s/he has grown. I like to show growth for my other main characters as well.
Capture the time frame: Plot out the number of days in which the story takes place and the time of day for the characters’ activities.

In addition, keep track of everyday things, such as:

The weather: Describe the weather accurately, which includes the season, the stages of the sun and moon, the temperature, and how the characters react. Remember to include animals, birds, and insects.
Meals: I think kids like to read about what the characters are eating, but more important, your characters have to eat, so some mention needs to be made.
Follow through: Items like a locket, a key, flashlights or cell lights, and other details need to have follow-through. Make sure you’ve covered what happens with these details. One of my characters opened the door of an old, haunted farmhouse and put the key in her pocket. What happened to the key after that?

Next month: What I Learned Writing a Kid’s Mystery Story

A creative writing instructor once told
my class that being a successful
writer does not depend so much on talent
as it does on determination. That one word of
wisdom has kept me writing all these years.

Linda's two new releases are Botas Altas, the Spanish version of Tall Boots, translated by Graciela Moreno and Adriana Botero, and Cuna en la Naturaleza, the Spanish version of Cradle in the Wild, translated by Adriana Botero. Visit Linda at https://bit.ly/3AOM98L.

Small Steps, Big Magic: The Power of Micro-Inspired Action

by Suzanne Lieurance

When you think about manifesting your writing dreams, it’s easy to imagine giant leaps—finishing your novel in a month, landing a book deal, quitting your day job.

But most progress comes from small, consistent steps.

Especially the ones that feel good.

That’s where micro-inspired action comes in.

A micro-inspired action is a tiny move that feels aligned, clear, and doable right now.

It’s not about trying harder.

It’s about listening inward and taking the step that calls you forward.

Examples of micro-inspired actions for writers:

• Opening your notebook and writing one sentence

• Organizing your writing space to make it feel more inviting

• Re-reading a passage you’re proud of to reconnect with your voice

• Sending one email or DM to a writing connection

• Saying “yes” to a creative idea that popped into your mind

These actions might not look like much on the outside—but energetically, they’re powerful.

They move you into motion.

They tell the Universe, I’m ready.

They build momentum that leads to more clarity, more confidence, and more flow.

You don’t have to know the whole path.

You just need to take the next aligned step.

The rest reveals itself.

So today, ask yourself: What small thing feels right to do next?

Then do it.

Try it!

For more writing tips delivered to your emailbox every weekday morning, get your free subscription to The Morning Nudge.

Learn more about Suzanne Lieurance and all the resources she has for writers at writebythesea.com.

Avoid Publishing Pitfalls

By Terry Whalin (@terrywhalin)

It’s rare that I see this perspective but, in this article, I want to give you a reality check. From my decades in this business, I understand book publishing is filled with possible pitfalls and errors.

I witnessed another one recently. One of my bestselling author friends was about to release a new book. This new book was from a major well-known publisher. The book was designed well and edited and included endorsements and practical information. I’ve supported this author in the past, so I was on the list of people who got a pre-release copy of the book. This pre-release included a personal handwritten note from the author and information about the date of the book release.

It was a push for my schedule, but I managed to quickly write a review and be ready to post it on the launch date. Then I noticed the page on Amazon. It was not the typical pre-release page. Instead the book had already been released a couple of days before the launch date. The book had zero Amazon reviews on the page. How did this happen? Someone at the publishing house set up the wrong Amazon date for releasing the book (my guess).

This author has a launch team and other elements in place to promote her book. I was not surprised to learn this team was in place since she is an experienced author and knows the elements of launching a new book. It is important to have a launch team because there are over 4,500 new books being released every day. Other places say 11,000 new books every day. Whichever number you want to use, it’s a large amount of new books entering the marketplace. I regularly hear that most publishers are selling about 50% of their books through Amazon, that leaves another 50% for brick and mortar, other online retailers, and other places. Still 50% is a large number at Amazon for the book sales.

I’m writing these details about this cautionary tale which contains a number of lessons:

1. Details matter. The release date of your book should match up on Amazon, Barnes & Noble and other places. As an author, you can check some of these details but depending on how you publish, they are usually handled internally inside the publishing house.

2. With the launch of a book, things can go wrong. When this happens to you, acknowledge it and keep moving forward.

3. Nothing is fatal in this process—unless you quit. Even when something goes wrong or doesn’t happen, you can still recover from it and sell books. The only way for you to be stopped is when you give up and quit. Almost anything can be overcome with action.

4. Marketing is an ongoing process for every book. Recently one of my books got a new review. I was interested in reading it. When I looked, it was a one-star review with hardly any information. If you only have five star reviews for your book and then someone gives you a one-star review, it validates all the other reviews for the book. In other words, there is nothing to do about the negative review but keep moving forward. In fact, if you get enough five star reviews, the one-star review will have little or no impact. I encourage you to do the same.

I hope this story helps and encourages you with your own marketing efforts for your book. It is not easy for anyone, even people with a lot of experience in this area. The key is to keep going and keep moving forward no matter what happens.

From the stories that I hear I understand authors are trying to find the magic bullet or the perfect place to tell people about their book. The reality is success and book sales are not based on a single event or single television appearance. Instead, success comes from continual and steady efforts from the author to promote their book. Your publisher may be able to get the books into the brick and mortar bookstores. It is the author who drives people into the bookstores to sell those books and move them into reader’s hands and not be returned to the publisher.

As the great hockey player Wayne Gretzky said, “You miss 100% of the shots you don’t take.” Opportunity is around us and you need to keep seizing it and going forward even with the pitfalls. The authors who continue are still writing and still touching lives. I want you to be among this distinct group.

Your publishing pitfalls will be different from mine or those possibilities that I detailed in this article. When they happen (and they will happen), it’s critical to not give up and keep going.

Tweetable:

According to this prolific author and editor, publishing has many pitfalls. This article gives a cautionary tale and a series of actions for every author. (ClickToTweet)

W. Terry Whalin, a writer and acquisitions editor lives in California. Get Terry’s newsletter and a 87-page FREE ebook packed with writing insights. Just follow this link to subscribe. A former magazine editor and former literary agent, Terry is an acquisitions editor at Morgan James Publishing. He has written more than 60 nonfiction books including Jumpstart Your Publishing Dreams and Billy Graham. Get Terry’s recent book, 10 Publishing Myths for only $10, free shipping and bonuses worth over $200. To help writers catch the attention of editors and agents, Terry wrote his bestselling Book Proposals That $ell, 21 Secrets To Speed Your Success. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

When Words Don’t Say What You Want Them To

How to Avoid Embarrassment Using the History of Words

When Is Nice Anything but Nice

By Carolyn Howard-Johnson, author of the newly released
Third Edition of The Frugal Editor

My favorite resources for keeping up with ever-shifting English grammar appear to be games at first glance, something I prefer not to waste my time on but somehow also get hooked on. Still, I have several quickie newsletters that appear in my mailbox because with the first few—the likes of Word Genius and Word Smart—I realized they were great tools for editors—and for those occasions when all writers choose to break that rule about always hiring a professional editor. You know when you do it, and I know when I do it—usually when I’m in a hurry or when I’m writing promotional material. Ahem!

I sometimes break another rule, too. I subscribe to these letters when new ones arrive unbidden, unannounced, and unrecommended. As an editor who knows that smart editors need to hire editors whenever possible, too, I find they help me keep my skills ahead of the curve. That I have never unsubscribed is informal proof of their value.

Sometime in about 2023 one of these letters asked, “Have you ever stopped to think about the true meanings behind the words we use every day? While we may use these words without a second thought, they often carry deeper significance and historical context that we may not be aware of… .”

That quotation lead me to the word nice which I have long subconsciously avoided. And I have recently been annoyed with a new series of TV ads—probably a very expensive one—that assumes women everywhere prefer the word “nice” over “artistic,” “stylish,” or any of the other possibilities listed in about any thesaurus a writer might use. The producers must have no notion of the word’s history or even a built-in awareness that there might be times it is better avoided.

Of course, we have all used nice to mean something agreeable. But originally it meant something quite different and, as words are prone to do, morphed over time. Think of the word bad as a recent example of just such a change. Occasionally one of those alphabetical generations who began to use it to mean its opposite. I am aware of it, but it still throws me for a loop when they do!

A caveat: When you’re writing, you can’t count on the tone of voice to indicate satire. There are ways to do it with dialogue, description, context. But you have to identify the problem to use one of those techniques.

Nice derives from the Latin nesius which means unknowing or ignorant. That eventually changed to suggest foolish or simple before landing on its current most-commonly used meaning. Still, occasionally we become aware of its double meaning, usually from the tone of voice used to indicate irony as in “Well, ain’t that just nice.” When the word nice comes to mind for us writers, it might be a good time to click on the synonym feature of your word processor to find a word that is less loaded with hidden meanings.

Take special care with some words or phrases being used in the news these days. They have come to be referred to as dog whistles. In politics it might be referred to as code. You might not catch the meaning, but the most radical members will. Some of their history might impart an unintended association with the humankind’s least admirable tendencies. Of course, when you spot one it’s your decision to use it…or not.

-----

With each issue of Karen Cioffi’s #WritersontheMove blog, Carolyn Howard-Johnson shares something writer-related she hopes might save some author from embarrassment (or make the task of writing more fun or creative). The third edition of The Frugal Editor from Modern History Press includes a chapter on some of the words most misused by the very people whose business it is to know them and to give publishers and authors the exposure needed to reach bestseller status. It is the second multi award-winning book in her HowToDoItFrugally Series of books for writers with lots of those important changes in it like the new uses for gender pronouns and a chapter on how backmatter can be extended to inform readers as well as nudge book sales all within the realm of acceptable practices—ancient or new. Find it on Amazon’s new buy-page offered in for paper, hard cover, or e-book series. (The availability of that new page for book series Amazon offers authors is another of the #FrugalBookPromoterTips she posts on Twitter (X).)

Writing for Children - 10 Rules

Contributed by Karen Cioffi, Children's Ghostwriter, Rewriter

Before I became a children’s writer, I wrote marketing and health articles. Writing in multiple genres, writing for children can be much more challenging.

When writing for children, there are guidelines to keep in mind to help your story avoid the editor’s trash pile. And if you’re self-publishing, the children’s writing guidelines help you create an engaging and marketable book.

Here is a list of 10 rules to refer to when writing for young children:

1. Keep it safe.

Be sure your story does not suggest dangerous or inappropriate behavior. Keeping children safe is the most important item on this list.

Example: The protagonist (main character) sneaks out of the house early in the morning while his parents are still sleeping.

This is a no-no!

2. Age-appropriate words, dialogue and action.

-You wouldn’t use the word remote for a first grader. You would use far.
-A seven-year-old wouldn’t speak like a twelve-year-old.
-A seven-year-old wouldn’t walk a half mile alone to go to a park or go in a pool without adult supervision.

3. Age-appropriate problem.

The protagonist should have an age-appropriate problem or dilemma that’s established at the beginning of the story.

Let the action/conflict rise. Then, have the protagonist, through thought process and problem-solving skills, solve it on his own. If an adult is involved, keep the input and help at a bare minimum.

Kids love action and problem-solving!

4. Point of view.

The story should have a single point of view (POV). Writing a single POV means that it doesn’t exist if your protagonist can’t see, hear, touch, or feel it.

Example: “Mary crossed her eyes behind Joe’s back.” If Joe is the protagonist, this can’t happen because Joe wouldn’t be able to see it.

5. Sentence structure.

When writing for young children, keep sentences short; keep adjectives and adverbs to a minimum. And be careful of your punctuation and grammar.

6. Show rather than tell.

Write your story by showing through action and dialogue rather than telling.

You can use your imagination for this one. Picture how the child might behave or react. Will his arms flail? Will he narrow his eyes? Will she cry? Will she run away or stand her ground?

If you can’t seem to find the right words to show a scene, try using dialogue instead; it’s an easy alternative.

7. Write tight.

Don’t say something with ten words if you can do it with five.

Watch for unnecessary words (adjectives and adverbs). Use strong verbs. And pay special attention to “ly” words.

8. Watch the timeframe for the story.

Picture books should be kept within several hours to a day or two. On the outside, a week or two.

A fun story, Stephanie’s Ponytail by Robert Munsch, has a timespan of five days.

9. A character arc.

Along with the protagonist’s solution to the conflict, she should grow in some way as a result of the journey.

An example would be if a protagonist starts out unsure and afraid but becomes confident by the end of the story.

10. Use a thesaurus and a book of similes.

Finding just the right word or simile can make the difference between a good story and a great story.

Summing It Up

Using these techniques will help you create effective children’s stories. Another important tool to use in your writing tool belt is joining a children’s writing critique group. No matter how long you’ve been writing, you can always use another set of eyes.

If you’re a beginning writer and unpublished, you should join a group with published and unpublished members. Having published and experienced writers in the group will help you hone your craft.

ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, working ghostwriter, rewriter, and coach (picture and chapter books). If you need help with your story, visit Writing for Children with Karen Cioffi.

You can check out Karen’s books HERE.

You can connect with Karen at:
LinkedIn: https://www.linkedin.com/in/karencioffiventrice
Facebook: https://www.facebook.com/kcioffiventrice/
Instagram: https://www.instagram.com/karencioffikidlitghostwriter/
Twitter: https://twitter.com/KarenCV

Tips to Avoid Common Pitfalls in your Story

When is this book going to come out?
Only time will tell!

By Linda Wilson @LinWilsonauthor

How long does it take to write, edit, and polish a children’s book—or any book—for publication? This is a question I’ve been grappling with for several years now as I seek to complete the second book in my Abi Wunder Mystery trilogy, Secret in the Mist.

The book seemed to be finished many times through countless edits by critique groups, hours of self-editing, and reviews by two beta readers. Lately, the manuscript was reviewed by professional editors—www.chriseboch.com and https://two4onekidcritiques.wixsite.com/mysite/rates, both offering very helpful comments.

Upon receipt of each critique, I made the appropriate changes and set the manuscript aside to “rest.” Each time I picked it up again I discovered more edits, some quite extensive. This process has taken years.

My feelings have ranged from pure frustration—the desire to pull my hair out and yell, when will this ever end—to acceptance; as in, every change brings a more entertaining, tightly written, page-turner.

My goal with this article is to outline the pitfalls I’ve encountered in preparing Secret in the Mist for publication. Being aware of these pitfalls will hopefully save you time and effort.

Editing Challenges to Avoid

Stick to the overall plan of the book: Perhaps the most important challenge for me was to keep track of the “whole picture.” I told myself I was following my outline (I’m not a pantser). But I got caught up in week-to-week changes suggested by my critique group. I would edit the changes and move on to the next section for them to read. I got lost. I didn’t know where my story was going, and I included too many unimportant events that I thought made the story exciting. It wasn’t true. I had strayed from what the story was really about. Now I realize I should have hung my outline on the wall in front of my desk to remind me where I was going. I will do that from now on.
Stick to the story problem: Make everything that happens in the story about the story problem. I like to use the example of an edit Chris Eboch did of my first Abi Wunder book, Secret in the Stars. I had an entire chapter about kittens, which was an adorable addition and very entertaining, I thought. Chris let me down lightly. She understood how much love I put into that chapter. But she said it didn’t move the story forward. It had to go. The removal of that chapter didn’t make an iota of difference in the book--it had nothing to do with the plot. But I’ve kept the chapter for possible use in advertising or even in another story.
Know which details to include: I’ve fit in necessary details to show what the characters look like, what they wear, etc.; a rich sense of the setting in a country town, including trails in the woods; and other details as important elements in the story. But in my zeal to include details, I included minutia, details that turned out to be unimportant, and didn’t move the story forward.
Remember to include the senses: I find “taste” to be the most challenging sense. One way is to describe a meal, which I think readers enjoy.
Scrutinize for any passages that slow or stop the action: Action parts are not the time to describe anything. Short sentences give the feeling of immediacy. Keep the story moving forward. Delete any passages that bog the story down.
“Telling” and “Showing”: Study up on how to handle “telling” and “showing.” Both can be effective if you know how to use them. What has surprised me is how many “telling” passages I use when “showing” would be much more engaging.
Watch overuse of certain words: Here are some of my favorites: just, down, back, look, to name a few. I do a word search and reword sentences to avoid using certain words too often.
Tie up loose threads: One of the ways I try to carry through with characters, themes, symbols, is to do a search of each word. I give each character an arc. The main character needs to grow, so I follow her path through the story to make sure her growth is achieved. The other characters have story arcs, also, with a beginning, middle, and end. Mention of symbols such as ladybugs for good luck, a treasured locket given to Abi by her grandma, the appearances of the ghost, need to have follow-through and a satisfying ending. Each needs a reason to be in the story, needs to help move the story forward, and also needs to keep from being repetitious.
Be on the lookout for any descriptions or actions that are vague. Make them specific.

If you're like me, you will take the time necessary to produce a book worthy of your readers, no matter how long it takes to complete.

Before I knew about shredding,
these were the drafts I edited
before publishing Secret in the Stars.

The Mental Shifts That Sets You Free at the Page

by Suzanne Lieurance

You don’t need more time to write.

You don’t need a fancy writing desk.

You don’t need a new planner, a course, or a writing retreat to give yourself permission.

What you really need is a shift in mindset.

We’re taught to approach writing with pressure.

We’re supposed to be productive, perfect, polished.

But that mindset doesn’t create freedom—it creates friction.

Every sentence becomes a test.

Every blank page feels like a mountain.

If you want to feel free at the page, you have to change how you think about writing.

Start with these three simple mindset shifts:

#1. From outcome to expression

When you focus only on the outcome—a finished novel, a polished essay, a bestselling book—you put a weight on your writing it was never meant to carry.

Instead, try writing just to express something.

Let it be a release.

Let it be for you first.

The magic happens when you stop forcing your writing to “do” something and allow it to simply be.

#2. From pressure to play

Writing isn’t a test.

You’re not being graded.

If you treat writing like a performance, you’ll always be nervous.

But when you treat it like play, you relax.

You explore.

You try new things.

That’s when the real freedom shows up—when you give yourself room to play on the page again.

#3. From fear to trust

You already have everything you need inside you to write something meaningful.

But fear will tell you you’re not ready.

That you need more experience.

More validation.

That fear is lying.

The truth is, your voice is ready now.

Trust yourself.

Write the thing.

You can always revise later—but don’t self-reject before the words even get out.

These are small shifts, but they create big changes.

When you step into your writing time from a place of expression, play, and trust, you don’t just write more—you write better.

More honestly.

More boldly.

So, if writing has started to feel like a burden, ask yourself: What mindset am I bringing to the page? And what could I let go of?

You don’t need to earn your freedom to write.

You already have it.

The trick is remembering that.

And, for more writing tips and resources delivered to your e-mailbox every weekday, get your free subscription to The Morning Nudge.

Suzanne Lieurance is an author and a Law of Attraction coach for writers.

Learn more at www.writebythesea.com.