Beginning Writers Do Get Published

 

By Terry Whalin (@terrywhalin)

Over the last 20 years Greg Stielstra, author of Pyromarketing, marketed hundreds of Christian books including The Purpose Driven Life. During that time, he noticed a disturbing trend. Some Christian authors sought fame because they believed only celebrities could influence culture. What’s more, they thought to sell lots of book required hiding their Christian content. In a sort of publishing bait and switch, some authors thought they must achieve a platform with secular books—or at least books that minimized faith content before they could use their platform for good. The formula was, “First become famous and then make a difference.”

Greg saw things differently. He saw authors like Lee Strobel achieve tremendous success by writing books with clear biblical content that helped people. The formula was reversed; first make a difference and then the platform will follow. “Aim at Heaven,” C.S. Lewis correctly noted, “and you get Earth thrown in. Aim at Earth and you’ll get neither.”

It’s a myth that beginning writers do not get published. Because it happened years ago, many people forget about a brand-new fantasy writer who was looking for an agent named J. K. Rowling. There is a little discussed story about Harry Potter that I read originally in this article in The Observer (http://terrylinks.com/HarryPotter )

Almost everyone knows that J. K. Rowling was an unpublished children’s writer and single mother who wrote Harry Potter in a coffee shop and dreamed of getting published. How was the book discovered and brought into the publishing world?

J. K. Rowling overcame incredible hurdles to secure that initial book contract. Some of those hurdles she passed through with sheer good luck. There is no other way to categorize it. Rowling’s experience definitely fell outside the normal way of publishing.

Here’s the two key paragraphs (in my view) from this article: “The agency, run in ‘cramped’ and ‘near-Dickensian’ offices in Fulham, south-west London, was cash-strapped until touched by Potter’s magic wand. Literary folklore has it that Rowling, then a penniless 29-year-old single mother, walked into a public library in Edinburgh, looked up a list of literary agents and settled on the name Christopher Little because it sounded like a character from a children’s book.”

“Bryony Evens, the office manager at the time, has said that it went straight into the reject basket because ‘Christopher felt that children’s books did not make money’. But its unusual black binding caught her eye, prompting her to read the synopsis and show it to Little. He recalled: ‘I wrote back to JK Rowling within four days of receiving the manuscript. I thought there was something really special there, although we could never have guessed what would happen to it.’ He managed to sell it to Bloomsbury for £2,500, but later it reaped huge rewards from international rights and he has won a reputation as a brilliant deal-maker who puts Rowling first.”

With the current exchange rates, £2,500 is just a bit over $3,100. Also, this article mentions the agent has received an estimated commission of over $100 million. Not a bad return for pulling a manuscript with an unusual manuscript with black binding from the reject basket.

Don’t assume your material can go into this “other” category for how it becomes published. I’d encourage you to work through the normal channels as much as possible but be aware that sometimes a project will jump to the front of the line. 

Tweetable:

It may not seem like it to a new writer but beginning writers do get published. In this article, this prolific writer and editor provides encouragement. (ClickToTweet) 

W. Terry Whalin, a writer and acquisitions editor lives in California. 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. Check out his free Ebook, Platform Building Ideas for Every Author. His website is located at: www.terrywhalin.com. Connect with Terry on Twitter, Facebook and LinkedIn.

8 Elements of Creating Tension in Your Writing

 

Contributed by Margot Conor

Recently I have been studying conflict. It is something I avoid in real life. I have always been a peacekeeper. A believer that good communication can solve anything. Even though I try to avoid fighting, I’ve observed more than my share of negative interactions over the years. Bickering, vindictive jealousy, intolerant name calling, mistrustful clinging control issues, and physical abuse… I have a fountainhead of momentous experiences to draw from. I just need to pull out the details from those memories and get them on paper.

However, extracting those emotional dramas of my past from the dusty archives tends to provoke some degree of sadness. The damage is etched on my soul, those memories mark you in some definable way, as experienced. Not the sort of experience you might wish for anyone. The repercussions are not as bad as they might be. You could say they are lessons learned, about what to avoid. Thus, a practice of avoidance.

Now, I must be willing to subject my characters to those experiences. From the nuance of manipulation to the full force of a physical confrontation. Let it be bloody, let it be catastrophic, let it ruin them… just enough.

I’m aware that creating tension in a story is essential for keeping readers engaged, and it requires a combination of narrative techniques that work together to build suspense, anticipation, and emotional investment. There is nothing like putting a character that readers have grown to love in danger. If done right they will hang on every word to find out what happens.

I fully understand the importance of making characters suffer so they can grow, just as I have. However, I’m still honing the skill of writing conflict. I’m learning how to weave in arguments and negative drama, though I have to push myself to really get my characters into tough situations. So here is what I have learned about creating tension in my stories…

The idea is to interject enough of these vital elements as you build your narrative to keep your readers interested. The techniques suggested in this article can help you construct a compelling story. Seductive in its ability to hold your audience, captivating their curiosity, so they just need to know what happens next.  

Each technique works in concert with the others, to create a story full of tension. The key is to apply them thoughtfully and with variation, ensuring that the reader is constantly engaged, feeling both the thrill of the immediate conflict and the weight of impending consequences. By layering these through your story, you can craft a dynamic, edge-of-their-seat narrative that keeps readers emotionally invested and eagerly turning the pages.

1. Foreshadowing:

Foreshadowing is a subtle way to hint at future events, creating tension as readers anticipate how things might unfold. By dropping clues—whether through imagery, dialogue, or small actions—the writer builds an undercurrent of suspense. For instance, an offhand comment about a character’s dangerous habit can signal impending disaster, keeping readers alert as they wait for the consequences. Foreshadowing plants seeds of tension early on, making future conflicts feel inevitable.

2. Conflict and Opposing Goals:

At the heart of tension is conflict. When characters have opposing goals, it sets up a natural tension between them. These goals can be both external (two characters vying for the same job) and internal (a character torn between loyalty and ambition). As each character’s desire becomes clearer, the stakes of the story rise, and readers become invested in seeing how these conflicting aims will clash. The stronger the opposition, the more intense the tension becomes.

3. Raising the Stakes:

A key to maintaining tension is continuously raising the stakes. As the story progresses, the consequences of failure should become more significant. What starts as a simple goal should evolve into something much larger—whether it’s a personal risk, the safety of a loved one, or the fate of an entire community. Raising the stakes ensures that the characters, and therefore the readers, have more to lose with each decision, intensifying the emotional and narrative tension.

4. Pacing:

Pacing plays a critical role in how tension is perceived. Too fast, and the reader feels overwhelmed; too slow, and the tension dissipates. Effective tension builds through a balance of fast-paced action sequences and slower moments of introspection or dialogue that deepen the emotional weight of the story. By controlling the rhythm of the plot, a writer can make the peaks of action more impactful and the moments of calm more unsettling as readers wait for the next twist.

5. Curiosity and Unanswered Questions:

Curiosity drives tension by keeping readers wanting more. By introducing unanswered questions—such as a mysterious backstory, an unsolved crime, or a hidden motivation—the writer keeps readers engaged. The desire to uncover the truth pushes the narrative forward, creating a sense of urgency and intrigue. Delaying these answers, while feeding readers just enough clues, builds suspense, and adds to the tension of the unfolding plot.

6. Balance of Internal and External Conflict:

Tension is most effective when it exists on multiple levels. External conflict might come from the outside world—a villain, a looming disaster, or a ticking bomb—while internal conflict stems from a character’s personal struggles, such as moral dilemmas, fears, or emotional wounds. Balancing these two forms of conflict makes the story richer. The external challenges force the character into action, while the internal conflict adds depth, making their decisions more complex and heightening the tension as the reader waits to see how the character will navigate both.

7. Subplots:

Subplots can add layers of tension by introducing secondary conflicts that mirror or contrast with the main storyline. These subplots might involve side characters with their own agendas, romantic tensions, or smaller personal challenges. When integrated well, subplots create a more complex and dynamic narrative, allowing for brief moments of resolution that temporarily relieve tension before plunging back into the central conflict.

8. The Ticking Bomb or Ticking Clock:

One of the most effective ways to increase tension is through the use of a "ticking clock" or "ticking bomb" scenario. This device imposes a time limit on the characters, creating urgency. The stakes become more intense when characters are racing against time—whether it’s a literal bomb about to explode, a rapidly approaching deadline, or an illness that progresses with every passing day. The ticking clock adds a palpable layer of pressure, forcing characters to make difficult decisions under duress, which drives tension to its peak.

If you, like me, struggle with creating tension between your characters, I hope these suggestions will prove helpful in shaping more dynamic interactions. Tension doesn’t always have to come from grand, external events; it can arise from subtle conflicts in desires, opposing goals, or emotional undercurrents. By focusing on how characters' motivations clash, layering in personal stakes, and using pacing to build momentum, you can create a palpable sense of unease or anticipation. The key is to ensure that your characters’ conflicts feel authentic and meaningful, which will naturally enhance the tension in your narrative.

ABOUT THE AUTHOR

Margot Conor has been writing for as long as she can remember, but it wasn't until the COVID lock-down that she had enough time to dedicate to the craft and bring something to completion. Having finished her first novel, she went through the grueling two-year process of editing. Now she has jumped into the author's world with both feet. Margot's debut multiverse adventure novel, Inverse, is now  available on Amazon. 

 She's spent the last year attending many writing retreats, seminars, and writers' events. She also listened to presentations specifically on the topic of publishing and book marketing. She will be sharing what she learns with the reader. Learn more about Margot at https://margotconor.com/

What a Picture Book Editor Looks For

 A couple of years ago, I attended a two-hour writing workshop through SCBWI: Hook, Line, and Sinker: What Catches the Editor’s Eye with Scholastic editor Natalia Remis.

It was not only full ofexcellent information, but the editor also gave the first page of the attendees’ manuscripts a critique!

I try to keep up with the children’s book industry, but online, you get this and that opinion, and the other.

There’s quite a difference in hearing it directly from someone in the trenches.

Okay, let's get to it.

THE BUSINESS END

The BIG publishing houses are in business to sell to the mass market.

When Scholastic contracts a manuscript, they’re thinking of the trade side: book fairs in the school system, book clubs, Target, and so on.

This intent means the manuscripts they sign must appeal to the needs of schools across the nation.

So, what do the publishers want?

They want stories that kids will want to read.

HOW DO PUBLISHERS FIND BOOKS?

1. Editors acquire books from authors they already have under contract.

It takes some of the unknown out of the profit/loss equation.

2. They acquire books from agents they trust. Remis strongly advised that authors be agented.

3. They do some leg work. They actually look at writing blogs.

If Remis likes a blog she will reach out to the blogger.

4. A smaller percentage is from unagented authors.

THE PB MARKET

Picture books are getting harder and harder to publish.

The audience is shrinking.

Usually by second grade, kids are reading chapter books. So, picture books must be written for a younger child.

Writing for younger children isn’t as easy as it sounds. A lot goes into it, including:

- An age-appropriate storyline
- One point-of-view
- Age-appropriate words
- Tight writing to keep it under 800 words
- Grabbing and engaging enough for a child to want to read it over and over and over
- It has to be written with the illustrations in mind

WHAT MAKES A BOOK APPEALING TO AN EDITOR?

The choice to take on a book is personalfor an editor. Remis said a colleague chose a manuscript based on ONE line in the story. Another chose a book because of an illustration in the manuscript.

She likes vintage stories, particularly stories about New York City.

So, how do you grab an editor?

1. Make you and your book visible.

a. Attend conferences and workshops.

Publishing is tough. The more people you know, the better.

Like with this workshop I attended.  The editor allowed attendees to send in their manuscripts. This is a HUGE deal! Because of the workshop, she looked at the manuscripts.

b. Research agents and book publishers. Know which ones are a good match for your book.

Remis emphasized this with a story of a cookbook manuscript someone keeps sending her. Even after she told the author that she only handles children’s books, the author keeps sending it to her.

c. Look at recently published books in the library that are similar to your niche. Look at the imprint for the publisher. That house might be a good fit.

d. Write the infamous query letter.

The query letter is where you need to know what the publishing house publishes because you should mention why you think your book will be a good fit for that house or agent.

2. Write a strong story.

a. Keep the length of your manuscript in mind. Picture books aren’t long.

The typical PB is 32 pages, but four to six pages are needed for front and back matter. So, you have around 24-26 pages of actual story and illustrations to work with.

Remis did note that if you just can’t get the story within 26 pages, you can go for a 40-page PB. Those are the TWO options.

b. Write knowing that illustrations will help tell the story.

c. You need a plot with the elements of a good story; a beginning (opens), a middle (explores), and an ending (resolves).

You also need conflict. There must be an emotional journey for the protagonist and the reader.

hat needs to be solved? This is a must. And it must be known at the beginning of the story.

In almost all the manuscript critiques she gave, the conflict, the reason for the story was missing.

Remis suggests using a dummy storyboard or a similar method to see how the story can be laid out.

Another tip she gave is to pick a book from a bookstore, like Barnes and Noble, and type it out word for word.

This strategy is also a copywriting trick. It teaches the brain to write good text.

d. You need a satisfying ending without hitting the reader over the head.

3. Read your story out loud.

As you read it, watch for where you pause or stumble.

4. Read your story to children and watch their reactions.

- Where do you lose your audience?
- Where are they most engaged?
- How long did each page take?
- How did it flow?

Remis said she occasionally reads to groups of schoolchildren to see their reactions to stories she’s working on. She ends up revising the story as she’s reading to the kids. She’ll eliminate words, sentences, and even pages.

Your story must read well out loud.

SOCIAL MEDIA MATTERS

A social media platform can be a big deal. It’s important for young adult authors but also for picture book authors.

If a publisher knows you have a nice-sized following on Facebook, Instagram, or other popular social network, they’ll feel more comfortable that you can help sell your books.

OTHER TIPS

1. Remis recommended “Picture This” by Molly Bang. It shows how a PB works.

2. Don’t add a lot of Art Notes.

3. Don’t tell the editor or illustrator how to lay out the book.

4. Don’t talk down to kids.

5. Don’t tell your story – show it.

6. Don’t overdo the dialogue.

7. If you’re not a skilled illustrator, don’t submit a picture book with illustrations.

This was an eye-opening workshop.

 ABOUT THE AUTHOR

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and children’s writing coach with clients worldwide. If you need help with your children’s story, please visit Karen Cioffi Writing for Children.

Karen also offers HOW TO WRITE A CHILDREN’S FICTION BOOK.
A 250+ book that will help you start or finish your children’s book

And for those children’s authors who are self-publishing and need help, Karen provides WRITERS ON THE MOVE SELF-PUBLISHING SERVICE.

New Inspiration for Bloggers

A little story about chapbooks

 

New Inspiration for Bloggers

 

By Carolyn Howard-Johnson, multi award-winning author of
The Frugal Book Promoter

                                                        From Amazon’s New Buy Page for Series Only

Many of us who use blogs to promote think of them as diaries best kept cloistered under lock and key, as a path to writing a book one entry (chapter) at a time as Lisa Cron suggested in her book Wired for Story, or as something too new or techy to be bothered with. Some authors might spurn them because they are used so frequently for marketing which they would prefer to avoid altogether and others might still feel queasy when they succumb to marketing for the good of their book. I am going to tell you how to rethink blogs, re-invent them with something ancient and outdated, and generally make you love them.

 

When I was an instructor for UCLA’s renowned Writers’ Program the storyteller in me made me tell my students about chapbooks before I told them about the far-reaching value of blogs. I combined the tech and romance in my story. I knew my students—being writers—would respond to a good story, too. It’s the story of chapbooks and their creators, the peddlers, the people called “chapmen:”

 

“Once upon Elizabethan Times—some time after the advent of the Gutenberg Press when common folk were just learning to read—roving peddlers wandered from village to village selling a variety of needs to the populace and they were called chapmen. It came to pass—as it always does in old tales—that one enterprising (and creative) chapman began to give away small promotional booklets showcasing his products to those who came by his cart. His booklets were so effective he began including a poem he had written in them. Or a story. Or his drawings. Those booklets soon became treasured literary and artistic works from the poems inside to their hand-stitched spines and handmade covers. Soon his customers began talking about their chapman, perhaps seeing him differently than before.

 

“I suspect that occasionally our chapman offered an extra booklet to give to a friend. Our chapman was for his audience a welcome diversion in the villager’s lives as well as a more affluent chapman than most, so the books he gave away—unbeknownst to him—inspired other itinerants to emulate him and all the British Isles was calling these artistic sales tools “chapbooks.”

 

That’s why, dear authors, we use the word “chapbook” for small books of poetry today. But we can also use them—as he did—as a kind of viral marketing scheme, one that encourages interaction between the poet or storyteller and customer.

 

They can be artistic with handmade endpapers and silken bookmarks or simple booklets barely large enough to meet Amazon’s requirements for publication. They can be reasonably priced or cost lots of money and time. I plan to use one when the next book in my HowToDoItFrugally Series of books for writers is released in the new year. It will be the frugal kind (of course!) from Amazon’s KDP!

 

Chapbooks can be sold at online bookstores or given away for their promotion value at book signings and presentations. I might include tips from the new book, a special offer to those who buy extras as gifts, and even poems or story excerpts for the books I have planned for the whole of 2025.

 

It seems writing finds a way to adapt to new technologies so why not re-adapt chapbooks to your needs. Without realizing it, the world of technology brought us a newbie chapbook with blogs. The basic concept is the same, but they let us reach farther and do it faster than the chapman could. So the question is, what will you use? Blog? Chapbook? Or both?

 

MORE ABOUT TODAY’S CONTRIBUTOR

 

Carolyn Howard-Johnson is a novelist, poet, and the author of the multi award-winning HowToDoItFrugally series of books for writers (http://www.howtodoitfrugally.com). The flagship book in that series is now available in its 3^rd Edition from Modern History Press. Her #thefrugalbookpromotertips feature Amazon’s new buy pages dedicated to book series at no extra cost. If you write a series, find hers as an example at https://amazon.com/dp/B0BTXQL27T. She also has a series of poetry chapbooks cowritten with Magdalena Ball at https://www.amazon.com/dp/B0CFKMM9FN.

Carolyn also blogs writers’ resources at Writer’s Digest 101 Best Websites pick www.sharingwithwriters.blogspot.com and her www.sharingwithwriters.blogspot.com is a NO #bookbigotry site that aims to extend the exposure for reviews no matter the publish date or the press it is printed on. Find submission guidelines at https://tinyurl.com/SubmitReviewTNBR and other free opportunities by clicking on the round silver icons in the right column.

What is Your Story's Theme

 

 Contributed by Karen Cioffi, Children's Ghostwriter and Coach

Theme can be a frightening topic. Do you have a theme in mind before striking the first key? Do you write your first draft and then decide what the theme is? Do you have a problem deciding what the theme is, even after you’re in revisions?

In an article, “What We Talk About When We Talk About Theme,” in the Writer’s Chronicle, May 2010, Eileen Pollack discusses theme:

The concrete elements of any story constitute its plot—Character A, in Village B, is torn by a specific conflict that gives rise to a series of concrete actions through which she relieves that stress. The more general question raised in the reader’s mind by this specific character acting out this specific plot constitutes the story’s aboutness—or, dare I say, it’s theme.

This description of the elements of a story holds true for any fiction work, including children’s stories. The elements, woven together with theme as the foundation, are what make the reader continue turning the pages… it’s what makes the reader care. 

According to Pollack, “Theme is the writer’s answer to the reader’s rude, So what?” And if the theme is poignant and captures what some or many people actually do, it will allow the reader to recognize the situation and actions. This connection will keep the reader engaged. Hopefully, the reader will be able to take the theme away with them, however subtle it is.

For those worried about the theme affecting the story’s natural flow, Pollack advises deciding on your theme after your first draft. Once you have your theme in hand, go over your story again and again. You can now let the theme subtly permeate your story. Pollack goes on to say, “The most powerful use of theme is the way it allows you to fill in your character’s inner lives.”

Literary agent Mary Kole, in her blog at Kidlit.com, also sheds light on the worrisome theme:

When you revise, think about what your work is saying. You’ve got to have a reason for writing it. There should be distinct themes and ideas that you could point to as the center of your book. [. . .] Once you know what these are — and you usually won’t until you’ve started revising — you can use them as a lens. [. . .] A theme for your work should color everything in it, subtly, especially the descriptions.

So, there you have it; after you’ve written your story and are working on revisions, your theme should become evident if you haven’t already gotten it. Using it as a “lens” and filtering each paragraph through it, you should be able to convey the theme to the reader. 

ABOUT THE AUTHOR

 

 

 

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

Karen also offers authors:

HOW TO WRITE A CHILDREN'S FICTION BOOK
A DIY book to help you write your own children’s book.

WRITERS ON THE MOVE SELF-PUBLISHING HELP
Self-publishing help for children’s authors.

 

 

Writers: Tips on Adding Animals and Humor to your Stories

Give each character a role in your story,
even adorable kittens!

By Linda Wilson      @LinWilsonauthor

Animals and humor: two tried-and-true—and beloved—additions to children’s stories. Most children’s stories have them. Personally though, when I first started writing for children, I didn’t single out their importance. Not until my students enlightened me.

While teaching elementary school, I would read some of my very first stories to my students. I’m afraid one story that I read turned out to be pretty bland indeed. I asked my students for their thoughts. One boy, about eleven, raised his hand and said, “Your story doesn’t have any animals in it.” What a revelation! He went on to say, “Always include animals in your stories.” I never forgot his advice. Since then, animals have taken on big roles in my stories.

It goes without saying that children love to laugh. Humor can fit into most stories, when appropriate.

Incorporating Animals in your Stories

In my first book, Secret in the Stars: An Abi Wunder Mystery, I included the most adorable kittens. I knew my readers would just love them. I believed in this idea so strongly that I went to my local pet store and had a photo taken of me with kittens that were for sale.

I’ll now put in a plug for one of my most trusted professional editors, Chris Eboch, https://www.chriseboch.com.  Chris understood my desire to include the kittens in my story. But she suggested I take out an entire chapter about them. The fateful chapter didn’t move the story forward. And worse, the kittens didn’t take on an important role in the story.

You can imagine after all the effort I’d put into those kittens how unsettled I felt. After thinking it over, though, I realized Chris was right. It wasn’t that hard. I just deleted the chapter and rewrote the chapter numbers. Not to worry, I saved the chapter for possible future use, although so far I haven’t found a way to fit it in.

The same principle held true for one of the main character’s adorable younger brother, Ryan. Ryan added cuteness and lots of humor (more on humor in a minute). But the same principle applied. Ryan didn’t move the story forward nor did he have a role. Giving Ryan a role wasn’t hard. I gave Ryan a key role in finding a glove that had been missing throughout the story, therefore, having him help solve the mystery. And as an added bonus, Ryan had Star, the dog in the story, hold the glove in his jaws and lay it at the sheriff's feet.  

Finding a Way to add Humor

In my current Work-in-Progress, WIP, Secret in the Mist: An Abi Wunder Mystery, I’ve worked in as much humor as possible, keeping in mind the principles of moving the story forward and giving each character a role. Here are some tips for hilarity:

• Breaking wind is always funny to kids.
• Smelly stuff, too.
• Made-up words are fun.
• Underwear is funny, take it from Dav Pilkey, who figured that out in elementary school where he created his Caption Underpants character.
• Little-kid antics like ringing the doorbell and running away, and listening in on older siblings’ conversations.

Most of the advice and suggestions I’ve learned have been hard-won. Maybe that’s what it takes for improvement. Most important: that your creations are meaningful for children, and you've made your stories so intriguing that kids keep coming back for more.

Additional reading:

https://www.writersdigest.com/write-better-fiction/how-to-mix-humor-into-your-writing

https://www.writersdigest.com/improve-my-writing/a-list-of-funny-words-to-help-you-writing-funnier-stories

https://www.reddit.com/r/writing/comments/qx8di2/how_to_write_humor_when_you_arent_that_funny/?rdt=40640

Two of my picture books,
Tall Boots and Cradle in the Wild
are now available in Spanish

Linda Wilson is the author of the Abi Wunder Mystery series and other books for children. Her two new releases are Waddles the Duck: Hey, Wait for Me! (2022) and Cradle in the Wild: A Book for Nature Lovers Everywhere (2023). You’ll find Linda on her Amazon author page, on her website at LindaWilsonAuthor.com, and on Facebook.

The Secret to Writer’s Block: How the Law of Attraction Can Help You Break Through It

 by Suzanne Lieurance

Writer’s block. 

 

Two words that send a chill down any writer’s spine. 

 

You’ve got the ideas, the passion, and the will to write, but when it’s time to sit down and actually do the work? 

 

Nothing.

 

Zilch.

 

The screen stays blank, and frustration builds. 

 

But here’s the thing: writer’s block isn’t a dead-end. 

 

It’s a reflection of the energy you’re putting out. 

 

And once you learn to shift that energy using the Law of Attraction, you can bust through those creative blocks for good. 

 

Here’s how:

 

Step 1: Recognize the Energy Behind the Block.

 

Writer’s block doesn’t just come out of nowhere. 

 

It’s a sign that something’s off with your energy. 

 

Maybe you’re stressed, overwhelmed, or doubting yourself. 

 

Whatever the case, writer’s block shows up when you’re out of alignment with your creative flow. 

 

The Law of Attraction teaches us that what we focus on expands. 

If you’re focused on feeling stuck, that’s exactly what you’ll attract—more stuckness.

 

So, the first step to breaking through writer’s block is recognizing the energy behind it. 

 

Are you coming to the page with frustration, fear, or self-doubt? 

 

If so, it’s time to shift that energy.

 

Action Tip: Before you start writing, take a minute to check in with yourself. What’s your current energy? Are you feeling tense or blocked? If yes, take a few deep breaths and release that tension before you get to work.

 

Step 2: Set the Intention for Flow.

 

Here’s the game-changer: instead of focusing on the block, focus on flow.

 

The Law of Attraction responds to your intentions, so set a powerful one before you start writing. 

 

Instead of sitting down with a mindset of  "I hope I can write something today,” shift it to, “I write with ease and creativity flows effortlessly.” 

 

When you set a clear intention, you’re telling the universe what you want—and you’re aligning yourself with the energy needed to make it happen.

 

The secret is to believe it before you see it. 

 

You have to trust that the words will come, even if they’re not there yet.

 

Action Tip: Create a personal writing affirmation that you can repeat before each writing session. Try something like, “I’m in creative flow, and the words come easily.” Say it out loud, believe it, and let that energy guide you.

 

Step 3: Visualize Yourself in the Flow.

 

Instead of stressing about being stuck, close your eyes and see yourself writing effortlessly. 

 

Picture yourself in the zone, your fingers flying over the keyboard, the words pouring out faster than you can keep up. 

 

Imagine how good it feels to be in flow—to feel inspired, excited, and unstoppable.

 

Why does this work? 

 

Because your brain responds to what you visualize. 

 

When you see yourself succeeding, your mind starts to believe it, and suddenly, that energy block starts to dissolve.

 

Action Tip: Spend 2-3 minutes before your writing session visualizing yourself in full creative flow. Get specific—picture the words, the ideas, and the excitement of writing with ease.

 

Step 4: Let Go of Perfectionism.

 

One of the biggest reasons we get stuck is because we expect everything to be perfect from the get-go. 

 

But perfectionism is the enemy of progress. 

 

If you’re waiting for every sentence to be flawless, you’re creating resistance. 

 

The Law of Attraction thrives on ease and flow, and there’s nothing easy about demanding perfection from yourself.

 

Let go of the idea that every word has to be perfect. 

 

Give yourself permission to write something messy. 

 

The important thing is to get it out. 

 

You can always go back and polish it later, but for now, the goal is to keep the words flowing.

 

Action Tip: Next time you sit down to write, tell yourself, “It doesn’t have to be perfect; it just has to be written.” Give yourself permission to write a rough draft, and trust that you’ll improve it later.

 

Step 5: Celebrate the Small Wins.

 

Gratitude is a powerful tool when it comes to manifestation, and it’s especially useful for breaking through creative blocks. 

 

Instead of focusing on what’s not working, celebrate what is. 

 

Did you write 100 words? 

 

Awesome, that’s progress. 

 

Did you sit down to write, even if it didn’t go as planned? 

 

Celebrate that. 

 

The more you focus on what’s going right, the more you attract positive momentum.

 

Celebrating your small wins shifts your energy from frustration to appreciation, and that’s exactly the kind of energy that brings more success your way.

 

Action Tip: At the end of each writing session, write down one thing you did well, no matter how small. It could be anything from showing up to writing a single sentence you love. Celebrate it and keep building on that energy.

 

Step 6: Trust the Process.

 

Finally, trust that you’re exactly where you need to be. 

 

Writer’s block doesn’t mean you’re failing—it just means your energy is a little off, and that’s fixable. 

 

Trust that by shifting your focus, setting intentions, and taking action, you’re opening up space for creativity to flow again. 

 

It may not happen all at once, but that’s okay. 

 

The important thing is you’re moving in the right direction.

 

The Law of Attraction works on its own timeline. 

 

Keep showing up, keep aligning your energy, and trust that the words will come when they’re ready. 

 

Writer’s block is temporary—your creativity is always there, waiting for you to tap into it.

 

Action Tip: When you feel frustrated or stuck, remind yourself that this is just part of the process. Take a deep breath, realign your energy, and trust that the flow is on its way.

 

Writer’s block isn’t a curse—it’s a sign that your energy needs a little shift. 

 

By using the Law of Attraction, you can turn that block into flow. 

 

Set clear intentions, visualize your success, let go of perfection, and celebrate your progress. 

 

The more aligned you are with the energy of ease and creativity, the quicker the words will come. 

 

So next time you’re staring at a blank screen, remember: the power to overcome writer’s block is already within you. 

 

All you have to do is unlock it.

 

Try it!

And for more Law of Attraction tips for writers, get your free subscription to The Morning Nudge with access to a private Resource Library for Writers.

Suzanne Lieurance & Some of Her Books

Suzanne Lieurance is the author of more than 40 books and a Law of Attraction coach for writers at writebythesea.com.