The Value of Warming Up Before Each Writing Session

by Suzanne Lieurance

You wouldn’t see an athlete sprint onto the track without stretching first, right?

The same goes for writers.

Jumping straight into a writing session without a warm-up can feel like trying to run with stiff muscles—slow, clunky, and frustrating.

A good warm-up gets the creative gears turning, clears mental clutter, and makes writing feel effortless.

A writing warm-up is a game changer.

It helps shift you from the distractions of daily life into creative mode.

It quiets self-doubt, silences perfectionism, and makes the words flow with less resistance.

When you take a few minutes to warm up, you’re not just getting ready to write—you’re telling your brain, This is what we’re doing now. Let’s go.

The Science Behind It 

Writing isn’t just about stringing words together; it’s both a cognitive and emotional process. 

 

Your brain needs a signal that it’s time to shift gears. 

 

Low-pressure, short exercises stimulate neural pathways, improving focus and flow. 

 

Studies have shown that freewriting and other warm-ups activate the brain’s creative center, making it easier to get into the zone. 

 

In short, warming up makes writing smoother and more productive.  

 

How to Warm Up  

 

There’s no one-size-fits-all approach, but here are a few tried-and-true methods.  

 

Freewriting: Set a timer for 5–10 minutes and write nonstop. No editing, no second-guessing—just let the words spill onto the page.  

 

Writing Prompts: A simple prompt can spark ideas and bypass overthinking.  

 

Morning Pages: Julia Cameron swears by this method—three pages of unfiltered, stream-of-consciousness writing.  

 

Sensory Descriptions: Describe an object, place, or moment using all five senses.  

 

Dialogue Snippets: Write a quick, spontaneous conversation between two characters.  

 

Find what works for you. 

 

A warm-up doesn’t need to take more than 5–15 minutes, but it should be consistent. 

 

Make it a habit before every writing session, and over time, you’ll notice how much easier it is to slip into deep work.  

 

Overcome the Resistance 

 

Maybe you’re thinking, I don’t have time for this.

 

But a quick warm-up actually saves time because it makes writing smoother. 

 

Or maybe you feel like you don’t need it.

 

Well, even seasoned writers like Neil Gaiman, Ray Bradbury, and Julia Cameron rely on warm-ups. 

 

And if it feels silly? 

 

Good. 

 

That means you’re letting go of judgment, which is exactly the mindset you need to write freely.  

 

Try It Yourself  

 

Pick one of the warm-up techniques and try it for five minutes. 

 

Notice how it feels. 

 

Did your mind loosen up? 

 

Did the words flow more easily? 

 

The only way to know if a warm-up works for you is to test it out.  

 

Warming up is one of the simplest ways to boost creativity, confidence, and focus. 

 

Experiment with different methods, find one that fits your style, and make it part of your routine. 

 

Writing doesn’t have to feel like a struggle—it can be effortless, joyful, and fun.

 

And it all starts with a little warm-up. 

Now, for more free writing tips and resources, get your free subscription to The Morning Nudge. 

And, if you've always wanted to write a novel, visit writebythesea.com and accept our July Writing Challenge.

Suzanne Lieurance is the author of over 40 published books, CEO and founder of Write by the Sea® and a Law of Attraction coach for writers.

Authors Have a "Magical" Life

 

By Terry Whalin (@terrywhalin)

Whether you have never published a book or published many books, you may have this concept that authors have a magical life. They get to travel, attend amazing events and talk with well-known people about their book. Bestselling authors must have a wonderful life because they have sold so many books. This concept that the writing life is glamorous is another publishing myth. I wrote the words “magical life” with quotation marks to indicate “tongue-in-cheek” or exaggeration.

In my 20+ years in publishing, there are remarkable moments.  I want to begin this artice with a couple of these moments. Early in my writing career, I attended the Mount Hermon Christian Writers Conference. Located in the California redwoods, the event is known for their premier faculty and facility. At the end of this event, they give out some writer awards. During one of these early conferences, to my complete surprise, I was given an award for the Writer of the Year. The moment was outstanding to me because it is the only writer award I’ve ever received.

 

Fast forward years later, I was writing a book with the leading African American in Promise Keepers, Bishop Philip Porter. At the time, Promise Keepers was the fastest-growing men’s movement in America. I worked with a New York literary agent, and we crafted a book proposal that launched a bidding war between two large publishers. It was an exciting moment in my publishing life to sign a book contract with a six-figure advance. I worked hard on the writing for this book and it was published. Yet the truth is the book was unsuccessful and did not sell for several reasons. The publisher never showed the cover to Bishop Porter before it was published. Bishop Porter’s picture filled the cover of this book, but he did not like it. He disliked it to the point of not promoting the book and it did not sell. The publisher took this book out of print after six months. How is that for a glamorous writing life? Most of those out-of-print books were destroyed—the truth of what happens to many of these books.

 

Met Former President Jimmy Carter

“We can’t say anything about it,” my literary attorney and writer friend Sallie Randolph began. “But President Jimmy Carter and his wife Rosalynn are going to be at our member luncheon tomorrow.”  

I was in New York City for the annual conference of the American Society of Journalists and Authors (ASJA), the leading nonfiction writers’ group in the nation and originally known as the Society of Magazine Writers. Each year, the organization holds a large public conference on a Saturday in a hotel in New York City. Before this public conference, the ASJA has a much smaller member day meeting in the same location. One of our members had written a book with Rosalynn Carter and the authors were going to be given an award from the Society. The award winners were invited to attend the member luncheon and the Carters had accepted the invitation. There would be about 200 members and special guests at this luncheon. 

While Sallie and I were not sitting at the table of honor with the former president and his wife, we figured out where the secret service would be sitting and were able to sit at that table. My business book, Lessons from the Pit, A Successful Veteran of the Chicago Mercantile Exchange Shows Executives How to Thrive in a Competitive Environment which I wrote for Joe Leininger, had just been released and I had a copy in my briefcase. During the meal, I asked the secret service agent when I could give President Carter a copy of my book. He said, “Do it right now because we’re going to eat, speak, and leave.”

With his permission, I walked over to the former president, introduced myself, and gave him a copy of my book which was published from B & H Publishing Group (formerly Broadman & Holman). I knew Broadman had been one of Jimmy Carter’s publishers and he would be familiar with the company. He was interested in the topic of my book and mentioned his son, Chip, had traded at the Chicago Mercantile. 

As the meal concluded, the program began, the Carters spoke to the audience, and then quietly slipped out of the room—the president carrying one book out of that meeting—mine. It was a great experience to have met a former President and spent a few minutes with him. 

I’ve interviewed more than 150 bestselling authors in many different settings. I’ve been inside the professional baseball locker of the San Diego Padres or been one of the few journalists who has interviewed bestselling author and pastor Chuck Swindoll. During our lunch, Chuck told me, “There are no heroes in the Body of Christ. We are all like a bunch of guys in the back of a pick-up trying to get our stuff together.”  The experience of meeting various bestselling authors and hearing their stories has been enriching to my life but is not glamorous.

The real story is that writing books is hard work and selling books is even harder. From my experience there is often little glamour attached to such work. I’ve never met a book author who didn’t want to sell more copies of their work. It doesn’t matter if they are published through one of the largest publishers or Podunk Press (I don’t believe there is such a small publisher named Podunk Press but maybe, since there are many of them).

If you bring up the topic of selling more books, almost every author has a story about something they tried yet failed to work. Often these stories are filled with the author blaming someone else for the lack of sales. They blame:

• their publisher

• their publicist

• their agent

• their editor

• the wrong title

• the wrong cover

• the missing endorsements

• _____ you name it

It’s rare that I hear the author blame the real culprit: themselves. Yes, it’s hard to admit but it is the first step toward selling more books and understanding who bears the true responsibility for selling books—the author.

Many authors long to have their book appear on the bestseller list. For some authors they equate getting on the bestseller list as their benchmark of success for their book. Over ten years ago, I read Michael Korda’s Making the List, a Cultural History of the American Bestseller 1900–1999. Korda at the time was the Editor-in-Chief at Simon and Schuster, one of the largest publishers. If you haven’t read this book, I highly recommend it.

In the introduction, Korda writes, “The bestseller list is therefore neither as predictable nor as dominating as its critics make it out to be. Plenty of strange books get onto the list and stay there for a long time…at least half of the books on any given list are there to the immense surprise and puzzlement of their publishers. That’s why publishers find it so hard to repeat their success—half the time they can’t figure out how it happened in the first place.” (Page xv) I love his honesty. There is no magic bullet and it is different for every book. The author is key.

Some books start slowly and steadily sell then catapult in sales. Other books begin strongly then sales drop to nothing. There is no consistent pattern.

My encouragement is for you to keep experimenting with different methods to sell your book. Each author has a different experience. Recently I spoke with an author who had sold 8,000 to 10,000 copies of his self-published books. He had held over 300 book signings for his book. For many authors book signings have yielded almost nothing but not for this author. He regularly speaks at schools and service clubs and even AARP meetings.

Every author needs to keep experimenting until you try something that works for you and your book, then continue on that path.

Tweetable:

Authors have a “magical life.” In this article, prolific author and editor @terrywhalin uses “magical” as an exaggeration then gives the reality of the author’s journey.  (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.

Writing: Calamity Punctuation

 

Contributed by Margot Conor

I think the worst thing about my writing is punctuation. I use it incorrectly a lot of the time. I use commas where I shouldn’t and forget to put them where I should. I am never quite sure when a semicolon should be used. One of my editors took all of them out of my book saying they should never be used in fiction. It is a pet peeve of hers. But I see them used in fiction quite a lot and maybe that is due to auto correct programs. 

I’m sure I didn’t pay enough attention to grammar rules in school. But due to the patience of my critique groups, I am learning to correct my bad habits. I also use a program called AutoCrit which is helpful in many ways and has improved my writing craft.

Here is one lesson that came to me not long ago. I had used ellipses in my novel to indicate a pause in the dialogue. My editor replaced most of them with an em dash. Well, I didn’t like the way that looked and put the ellipses back. But then my critique group told me they are not interchangeable. They have different purposes. 

Both ellipses (…) and em dashes (—) are punctuation marks that serve to add rhythm, pause, or emphasis to writing, but they function differently.

Here are four examples of how to use ellipses:

To show that part of a quoted sentence has been removed. “The mission was successful… despite the damage sustained.”

To indicate a pause, hesitation, or that a character’s thought or speech trails off. “I thought I saw something, but it was probably just…”

They can stretch time or reflect uncertainty or suspense. “She stepped into the dark corridor… nothing moved… yet.”

They can imply something is left unsaid or is emotionally loaded. “You said you’d never lie to me…”

An em dash has lately been called out as proof you used ChatGPT or some other AI assistant to write for you. So many writers are hesitant to use them because of that, despite the fact that they have been in use forever, and AI learned how to use them from the books they were trained on. 

Here are a few examples how they should be used:

An Em Dash represents a sharp break or cut-off in speech or thought. “Wait—did you hear that?”

“If we don’t—” he began, but the explosion cut him off.
It separates an inserted or emphasized clause—often more striking than commas. “The creature—twice her size—lunged forward.”

It marks a sentence shift or unexpected turn. “She wanted to run—but her legs wouldn’t move.”

It’s used in place of parentheses to de-emphasize less integral information. “The moons—bright and ominous—cast strange shadows.”

Quite honestly, I find all of that hard to distinguish, but I started using the Em Dash in my stories to get accustomed to how they should be inserted. For example, an Em Dash is for abrupt interruption, dramatic insertion, and sharp sentence breaks, it is sudden action. While the ellipsis is for omission, hesitation, trailing off speech, and soft pensive sentence breaks. It is used during slower paced interactions.
 
I’m hoping my manuscripts won’t be such a calamity of errors in the future. I am slowly learning the error of my ways. 

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 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/
 

 

 

Summer Writing Blues: Dealing with Distractions, Procrastination and Other Book Killers

 

Summer is here! And that means vacations, barbecues, lazy summer evenings, and bored kids at home watching the television all day and asking for endless snacks.

However, finding the time to write a book is definitely going to be a struggle.

Procrastination is even worse.  When you're writing a book and feeling just a tiny bit stuck, suddenly it seems much more important that you finish your laundry, brush the dog, or redesign your website than it is to sit down and write.  

 And when you combine the possibility of procrastination with a few of life's little distractions... well, you can see how it might take you several years to finally get the book written.  

To prevent this from happening to your author dreams work out a plan ahead of time.

Look at your schedule for the next two weeks; 

 Where can you identify pockets of time to spend even five minutes writing? This includes looking at the time before everyone's awake, mid-morning, mid-afternoon, evening, late evening.  

✔   When is your best time for being productive during the day? Are you a morning or night owl person? Write during your most productive time.  

✔   What can you cut back on or give up in the next 2 weeks? Instead of endless scrolling on social media, watching television or cleaning - open up a notes app on your phone and write your book.  

Procrastination is a little harder to deal with, because it's all on you. The key is to know what's likely to trigger procrastination, and design ways to keep yourself motivated.

Some ideas include:  

✔     Set some goals for the week whether it's a word count or page count. Sometimes, procrastination comes when we don't have a definitive goal to work towards.  

✔      Rewarding yourself with a favorite treat or trip to the bookstore after a week of good writing (or even a day if you're prone to procrastination). 

✔    Enlist the help of a partner to keep you on track.  

If you find the first five minutes to write you'll easily find more and for much longer. The reward for all this effort is that you will discover you can write a book.  

 Keep writing! 

About Rebecca

Rebecca Camarena is a Book Coach, author and editor who helps writers, creatives, authors, and entrepreneurs elevate their words with editorial and writing support and critique services.

Connect with me here, www.rebeccacamarena.com/contact

Why Every Author Needs To Update Their Editing Skills

 

 

Why Every Author Needs to Know Editing

 

By Carolyn Howard-Johnson

Author of The Frugal Editor: Do-It-Yourself Editing
Now In Its Third Edition

 

Last month I contributed an article “Ten Easy Ways to Keep Dialogue Sharp
to this #WritersontheMove blog with a promise to give authors reasons why
they need to know all the editing skills they can work into their busy writing 
schedule including those for writing dialogue that I covered last week. I hoped to entice
even nonfiction writers who don’t often use dialogue to start using
it. Even newspapers that once

demanded strict "who, how, were, and why leads”
 now include anecdotes in their front-page stories!

 

It surprises people when they learn that grammar rules change over time. Or that what they learned in high school or advanced grammar classes in college is either passé or may not apply to fiction. It also surprises them to learn that a perfectly edited book is never perfect because there are always so many disagreements among experts. And even experts are often misinformed. The worlds of grammar and style choices are filled with myths and misinformation like, “Never use contractions in your writing,” “Never use fragments,” and “Never end a sentence with a preposition.” Further, as my client base grew, I kept running into common misconceptions and outright annoying style choices that would never fly in the publishing world. Thus, a new edition of The Frugal Editor was a must! And, thus, I keep battling decades old misinformation about editing—especially among newer authors. 

 

But what about authors who can proudly point to decades of publishing? Well, sometimes they suffer a little hubris. They think they have done well without worrying about spending time on what they know from high school grammar classes. and therefore already know. So we’ll start off with a smattering of what is new in my The Frugal Editor in its third edition—new in that last few years, in fact! And—if you scroll a bit—you’ll find another list of editing myths you—still believe—yes! You personally—that just happen to still be lying in wait for an occasion to embarrass (humiliate!?) you:

·       The Third Edition of The Frugal Editor has been reorganized, and my publisher Victor Volkman at Modern History Press tells me I outdid myself with about 50% new (helpful!) material including new “Editor’s Extras” based on my own school of hard knocks!

·       Authors will love the all-new sections including:

o    Beta readers and peer reviewers

o    What you probably don’t know about custom dictionaries

o    Up-to-date rules for accommodating gender-specific and other cultural needs

o    A chapter for word-lovers and poets

o    Quickie reviews of word processors for you

o    What even traditionally accepted front and back matter can do for your book sales, your career, and your readers

o    Political Correctness considerations change and grow with each passing day. So, yes! Lots of updating here!

·       The Third Edition of The Frugal Editor still includes the basics that make you into an on-your-own editor when you must be. Few writers other than Stephen King can afford to hire an editor for every query letter, every media release, every media kit, every blog post. So until your career is so star-studded you can afford a publicist and editor on a retainer basis, writers need to know both the basics of editing and the little-known secrets.

·       The third edition is still loaded with reader favorites like what authors need to know about book covers—another aspect of publishing that even experienced authors might leave entirely up to others—but it’s updated!

·       New information will dispel myths like these:

o    Agents are a cantankerous lot. (Nope! In The Frugal Editor, twenty-one of the nation's best tell you their pet peeves and they do it in the best of spirits.)

o    If your English teacher told you something is OK, it is. (No! Language rules have changed since you were a sophomore. Anyway, your English teachers likely have no background in publishing, so apart from basic grammar, how much help can they be?

o    If a manuscript or query is grammar-perfect, you'll be fine. (No! Lots of things that are grammatically correct annoy publishers.)

o    Always use your Spell and Grammar Checker. (No! Some suggest you don't use it at all, but The Frugal Editorwill help you make it your partner instead of your enemy.)

o    It's easy to avoid agent and editor scams by asking other writers. Even other professionals! (The Frugal Editorgives you a to-do and not-to-do lists to help you avoid being taken even when you are doing just that. )

o    Your publisher will assign a top-flight editor. Even big five publishers are having budget problems and many cut expenses by using less experienced/qualified editors. (Maybe, but don't count on it. The more you know, the better partner you’ll be for an editor!)

o    Formatters and editors will take care of the hyphens, ellipses, and all the other grungy little punctuation marks that English teachers avoided teaching because they didn't know how to use them either. (Chances are, you'll catch even great formatters and editors—the ones you pay for their services—in an error or two if you know your stuff!

o    When you do know your stuff, you’ll feel more comfortable defying all kinds of rules that are still extant. You’ll even feel comfortable explaining to your editor why this choice is an improvement for this particular title, voice, time, or era.

 

NOTE: The parts of this article bulleted are reprints (edited and updated) from one of my sell sheets. They are widely used in publishers’ and authors’ review-getting process using query letters, ARCs, and accompanying marketing materials. Find a sample of sell sheets—front, back, and footer—in the Appendix of The Frugal Editor, third edition.

You’ll find the first part of this plea of mine for writers right here on Karen Cioffi’s Writers on the Move
blog in my column on basic dialogue tips posted  in May, 2025.

It will give you ten reasons why knowing more 
editing than your do already might make

you a better (and happier) writer . 

Go to:  
 https://www.writersonthemove.com/2025/05/dialogues-ten-basic-cant-go-wrong-rules.html

 

MORE ABOUT TODAY’S WRITERS ON THE MOVE CONTRIBUTOR

Carolyn Howard-Johnson was an instructor for the UCLA Extension Writer's Program for nearly a decade. The first book in her HowToDoItFrugally Series of books, The Frugal Book Promoter, won USA Book News' Best Professional Book Award and Book Publicists of Southern California's Irwin Award. The second, The Frugal Editor, is the winningest book in her HowToDoItFrugally Series of books for writers (The first edition was named best of 2004 by USA Book News.) TFEIII includes many more editing tips on dialogue—even punctuation for dialogue. Learn more about building a career in the publishing world at www.howtodoitfrugally.com. 

 

“Careers that are not fed die as readily as any living
 organism given no sustenance.”

·