Early Lessons in the Yoga of Writing

 

Effort and Surrender and Writing

 

A personal yoga lesson, writing lesson, and review
by Carolyn Howard-Johnson

 

 

Yoga simply is. Like life. Like love. Like Writing. When we do it we may also connect. Eric Dinyer’s ethereal photographs in his Effort and Surrender published by Andrews McMeel, are aged like a Sienna landscape. They could easily be the route a beginner or a yoga sage might take to the next step. Or a writer takes to get creative juices started or to keep the I’m Not Good Enough Syndrome at bay. 

Way back in 2004 Eric asked me to write the foreword for this little treasure. 
An author-illustrator-photographer Dinyer has worked in the entertainment, music, and publishing industries with creative giants like Time-Warner Books, Columbia Records, Viking Penguin, St. Martin's Press, Doubleday, and Scholastic, as well as in publications such as Harper's, Newsweek, and the New York Times Book Review. He created cover images for Bruce Springsteen and Sting and illustrated The Breathing Field: Meditations on Yoga. And his request forced me to revisit my early experiences with yoga and I’m retelling a bit of it from the foreword for you so my writing fellows will understand why I think writers should give it a try, if they aren’t already in love with it..

I have been doing yoga since by brother directed me in a few poses.  I lay on a delicate patterned Oriental carpet before a fire in my mother’s home; he pointed my limbs in the proper directions.

            “Hatha Yoga” my brother said, “just poses…” He knew my atheistic tendencies.

            So, I did “poses only” until I saw light and knew.

            That was my only lesson.   

My yoga instructor did not believe that yoga should be uncomfortable or difficult but joyful. “Ignore those who say ‘No pain, no gain,’” he said.  “Stretch until it feels good.  Breathe until it feels better.”

Some poses came naturally. I have long muscles with little structure. Working them is like stretching warm Play-Doh. Dinyer’s photos of poses like The Plow are difficult for some but were easy for me. At 63 I was still doing that extension with variations, knees touching the floor above my head. Some poses like The Airplane he illustrates impart balance. My ability to do them improved as I practiced, mostly without my perceiving the changes because yoga benefits deliberately, leisurely.Some, like the Crane Posture require strength. I do not expect ever to achieve them.

Having said that, it does not matter to me. Yoga is not a contest with others nor with myself. I’m like that with writing, too. If practiced, it will progress. I eventually—perhaps after ten or twelve years—read (nay digested) Paramahansa Yogananda’s teachings but only when I was ready. His book materialized in the reading pile next to my bed. I still don’t know how that small volume came to be there.

I did not take expensive lessons, use special equipment, buy a Zen wardrobe or even set goals. All one needs for Yoga is willingness. I admit I ended up spending more money on things like writing classes, writers’ conferences, and reading, reading, reading on anything one needed for that like marketing. But I worked in breathing to increase the joy factor. I think it worked. I even wrote a poem about it:

 

Yoga is life.

                                    We see its splendor if we look

                                    Know its challenges when we choose to know

                                    Its comforts when we acknowledge them

                                    Recognize pain as a companion

                                    From whom we can learn or turn away

                                    It can quiet like the curve

                                    Of an egg in a bowl.

                                    It can be personal as a pulse

Or connect like a current.

                                    Life.  We select its ecstasies.

 

Such inspiration will surely move reader whether they choose Effort or Surrender or Writing—or all three. Yoga and writing is in the doing. Yoga and writing are very simply, life. 

MORE ABOUT THE #WRITERSONTHEMOVE CONTRIBUTOR

 Carolyn Howard-Johnson is the multi award-winning author of fiction, creative nonfiction, and poetry. She is also a marketing consultant, editor, and author of the multi award-winning #HowToDoItFrugally Series (https://www.amazon.com/dp/B0BTXQL27T/ ) of books for writers including "The Frugal Book Promoter" (https://bit.ly/FrugalBookPromoIII), and "The Frugal Editor" both offered in their third editions by Modern History Press. Others in that series are "How to Get Great Book Reviews Frugally and Ethically," and two booklets, both in their second editions also from Modern History Press. The booklets, "Great Little Last Minute Editing Tips for Writers" (https://bit.ly/LastMinuteEditsII) and "Great First Impression Book Proposals" (https://bit.ly/BookProposalsII) are career boosters in mini doses and both make ideal thank you gifts for authors. The one on writing book proposals is also available as an Audio Book. "The Frugal Editor "(https://tinyurl.com/TheFrugalEditor), was recently released in its third edition. It is the winningest book in this series for writers.  

Carolyn also has three frugal books for retailers including one she encourages authors to read because it helps them understand what is needed to convince retailers to host their workshops, presentations, and signings. It is "A Retailer’s Guide to Frugal In-Store Promotions: How To Increase Profits and Spit in the Eyes of Economic Downturns with Thrifty Events and Sales Techniques" (https://bit.ly/RetailersGuide). In addition to this blog, Carolyn helps writers extend the exposure of their favorite reviews at https://TheNewBookReview.blogspot.com. She also blogs all things editing--grammar, formatting and more--at "The Frugal, Smart, and Tuned-In Editor" (https://TheFrugalEditor.blogspot.com). Learn more and follow it to get news on her new releases directly from Amazon at https://bit.ly/CarolynsAmznProfile.

Your Story's Setting - It's More Than Just Scenery

 

Contributed by Karen Cioffi, Children's Writer

Setting informs the reader of the time and place of your story.

It can include the period, the physical location, the climate, and the social surroundings.

But it can do a lot more.

An example of this is the middle-grade book Walking Through Walls. It’s set in 16th-century China, and speech, descriptions of behaviors, clothes, trades, food, and more all add to the authenticity of the time period.

This allows the reader to get a feel for the environment the protagonist lives in and helps immerse the reader in the time period.

Your setting descriptions can be powerful.

1. It takes a village to raise a child.

Okay, that tip #1 heading is a stretch.

What that means is it takes all the senses when describing setting. Don’t limit it to just one.

It seems the most authors stick to the scenery—what can be seen. While this is an important sense, the reader will become more involved if there’s more to ‘feel.’

To make your setting come alive, your fictional landscape, use as many senses as you can. You should include smell, touch, sound, and even taste if the story allows.

In Walking Through Walls, the protagonist Wang is walking home:

Wang ambled back to the cottage. He noticed his favorite flower, the lemon lilies, in full bloom. They draped the landscape. Hmm, they smell so good.

While that passage doesn’t go into detail, it brings the smell of the lemon lilies into the reader’s mind, bringing another sense into the picture.

Here’s another scene from Walking Through Walls:

Tired and hungry, Wang trudged through fog thick as porridge.

This gives the reader a bit more insight into Wang’s journey. Again, while it’s not explained in detail, the fog might have felt damp on his skin. Maybe it left beads of water on him. The reader has something more to picture and imagine than just a fog.

The senses can also help to bring backstory into the story. Through taste, smell, and even texture, the character can remember people or times from their past, enlightening the reader about important elements of the character’s history.

2. Use your character’s emotions to describe settings.

If your character is in a good mood or reflective, he will sense the world around him much differently than if he’s in a bad mood or angry.

Going back to Wang and the lemon lilies, if he’s happy, he might bend down and pick up one of the flowers, bring it up to his face, and take in the sweet odor.

If Wang is angry, he might trample over the lemon lilies, grumbling under his breath.

How the character reacts to or describes his surroundings will add an element of emotion.

3. Treat your setting like part of your story.

Your setting can create a deeper experience for the reader. Using rich details will help the reader dive further into the story, feeling like she’s there.

It helps the reader understand what the character is feeling and what he’s facing.

Here’s a passage from Walking Through Walls:

Slowly, his gaze traveled up and up and up until he could see no further. The mountain loomed above him like a never-ending wall. Its thick, giant trees left little space between them for a trail.

This gives the reader a pretty good picture of what Wang was facing, bringing the reader into the story.

4. Add just enough setting description.

Okay, you’re a writer, and writing every little detail about a setting may come easy. You might want to capture it from multiple views or describe every color.

Well, if you add too many details that aren’t important to the story, the reader may get bored and skim over that section.

This may lead the reader to wonder what other sections she’ll have to skim over.

While you want to keep the setting descriptions within limits, the description or detail you include should do more than show where the characters are, if at all possible. Think emotional state, symbolizing, evoking a memory, etc.

Going back to Wang, looking up at the formidable mountain foreshadowed the difficult journey he had begun.

Like the rest of the story, the setting description should move the story forward.
 
The setting and its descriptions help create a connection between the reader, the character, and the story.

But…

If you’re writing a children’s picture book, you can ignore the above.

The illustrations in a picture book fill in all the setting descriptions. They show the emotions, surroundings, and characters… they show what the story text doesn’t say.

It’s a whole different writing experience.

This article was first published at:
https://karencioffiwritingforchildren.com/2021/07/25/how-to-make-your-storys-setting-come-alive/

ABOUT THE AUTHOR

 

 

 

Karen Cioffi is an award-winning children’s author, ghostwriter, rewriter, and 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+ page book that will help you get started or finish your children's book.

And for those children’s authors who are self-publishing, you might check out WRITERS ON THE MOVE PRESS.
 

Writing Your First Draft

My mentor books have given me inspiration
throughout the years. I still refer to them often.

By Linda Wilson     @LinWilson

When you know the type of book you want to write, start reading. Not only will you learn a lot, but you’ll have fun—guaranteed. Keep a list of the books. Take notes. Haven’t written anything other than school assignments? No worries. Experience helps, of course, but it is not necessary. What is necessary is a willingness to learn and a willingness to take some knocks as you navigate all there is to know about writing for children. Sage advice I learned from an editor: writers who succeed may not be the most talented, but they are the most determined ones who never give up. 

While reading your book choices, do a little research on genres. The biggest categories in genre are fiction, nonfiction, and poetry. That’s where the generalities end. There is every type of genre known to man/womankind. You can pick one or make up your own. But decide during this stage so you’ll know who you’re writing for—who your audience is. Your choice could and most likely will narrow down your book choices. If your book idea doesn’t fit into any category, there will still be books similar to what you have in mind. Seek those out.

While you're doing your research, it's a good idea to look into resources to help make sure your idea is viable before you continue. 

Choose Five Favorites

Once you’re satisfied that you understand the genre you’ve chosen, pick 3-5 books from your reading material that you liked the best. Expand your notes on them. Decide what those authors have accomplished to make you like their books so much.

In my own pursuit of writing mysteries for young children, the books I read were all children’s books. A criteria that developed during my reading gave me the insight to understand why I chose certain books over others as my favorites.

• The book was thoroughly enjoyable to read. I loved the story and looked forward to getting lost between the covers.
• The book was fun and enlightening, allowing me to dream a little while reading, and filling my head with the most wonderful thoughts and desires.
• The book stirred my creative juices which spurred creative ideas of my own.
• The book left a message and kept me thinking about the message after I finished reading it.
• Keep in mind that mentor texts don’t have to be on your subject. Seek out the mentor texts that help you reach your goals, even if they are off topic.

Favorites Turn into Mentor Books

There were many other reasons I loved the books I selected. Reading them as an author, not as a child of course, the list gave me something to strive for, goals to try to reach, in my own writing. 

Taking the Plunge

Of course, you’ve already got an idea for your story/nonfiction book or article. If you don't, which is what happened to me when I started out, pick a topic you care about, a topic you will enjoy learning about. Look at what others have written. Topics are narrow. You don't want to choose something so big that it would be unwieldy.

While it’s a good idea to hold off on writing too much in this phase while studying the market, you can take notes on how to develop your idea. Also, you can be researching your topic. And, you can go sit under a tree with your purple notebook and dawdle, doodle, and play around with your idea. No need to get anything down in concrete yet. That comes next.

Outline or Pantser

You’ll know when you’re ready to get down to work. This is a crucial stage, one I have struggled with. And one I hope to help you with, so you can circumvent the pitfalls I've fallen into.

But first, decide whether you work better writing as a pantser, writing "from the seat of your pants," or writing from an outline.” If you’re a pantser, start writing. Write the whole book/article. Editing can come later. 

My preference is to work from an outline for both fiction and nonfiction. I think outlines save time. And outlines can be adjusted as you get deeper into your story. For me, nonfiction outlines are relatively easy to write, as material seems to fall in place. Fiction is harder.

If you are an outliner, after you’ve made a list of characters who will most likely take part in your story, decide where your story will take place and the time frame. I suggest using 3x5 cards; use each card to describe a scene.

For me this is a fun process. The cards are easy to fill in and easy to edit. Writing is sketchy on the cards. You can fill in the details later. But getting the story/nonfiction down on cards makes way for your next step: finding the structure you will need.

When you are ready to structure what you’ve written, if you haven’t already, refer to the vast resources available, such as Save the Cat! By Jessica Brody, and You Can Write for Children, by Chris Eboch, who is a terrific writer and editor who belongs to my Albuquerque Society of Children's Book Writers and Illustrators, SCBWI, chapter.

I edited as I worked on my first book. It was a mistake. The story took a much different shape later on, so I wasted a lot of time editing parts that weren’t even used. I strongly suggest you disregard all editing until you get the entire first draft done.

If you keep your quest as simple as possible, you will get your story/nonfiction book or article off the ground. Future steps include seeking out writing organizations such as SCBWI, which offers many resources, critique groups, and lectures and conferences you can attend.

The second book in my Abi Wunder trilogy
is on the brink of publication. Stay tuned!

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 Writer's Success Triad

 by Suzanne Lieurance

Whether you want to be a novelist, a content creator, or a freelance business writer, you'll need a plan for success.

Your plan should consist of the following three parts (which I call the Writer’s Success Triad):

Part #1: Your Mission Statement: Defining Your Purpose

A mission statement is a concise declaration of your purpose, values, and the impact you hope to make through your work. For a writer, a mission statement serves several vital roles:

1.  Clarity of Purpose: It provides clarity about why you write, what themes or topics you're passionate about, and what message you want to convey to your audience. This clarity is essential in staying motivated and focused.

 

2.  Identity and Branding: A well-crafted mission statement can help define your writer identity and brand. It communicates to your readers what they can expect from your work, fostering a sense of trust and connection.

 

3.  Decision-Making Tool: When faced with choices about which projects to pursue or which direction to take your writing career, your mission statement serves as a compass, guiding you toward decisions that align with your core values and goals.

 

4.  Inspiration: It can be a source of inspiration during challenging times. Knowing that your writing serves a higher purpose can help you overcome writer's block or setbacks.

Part #2. Your Goals: Setting the Course

Once you have a mission statement in place, it's time to set specific goals that align with that mission. 

Goals act as the milestones and benchmarks of your writing journey. 

They should be SMART (Specific, Measurable, Achievable, Relevant, and Time-bound). 

Here's how goals play a significant role in your life as a writer:

1.  Direction and Focus: Goals provide you with a sense of direction. They break down the broader mission into manageable steps, helping you stay focused on what needs to be accomplished.

 

2.   Motivation: Setting and achieving goals can be incredibly motivating. Whether it's finishing a novel, publishing a certain number of articles, or building a specific readership, reaching these milestones can be immensely satisfying.

 

3.  Progress Tracking: Goals are measurable, which means you can track your progress over time. This helps in identifying what's working and what needs improvement, allowing for adjustments along the way.

 

4.  Accountability: Goals create a sense of accountability. When you commit to achieving specific objectives, you're more likely to stay on track and avoid procrastination.

Part #3: Your Action Plan: The Roadmap to Success

With a mission statement to guide your purpose and goals to shape your destination, the next crucial step is creating an action plan. 

An action plan is a detailed roadmap that outlines the specific actions and tasks needed to achieve your goals. 

Here's how it plays a pivotal role in your writer's journey:

1.  Structure and Organization: An action plan brings structure and organization to your writing process. It breaks down your goals into actionable steps, making them less overwhelming.

 

2.  Time Management: It helps you allocate your writing time effectively. With a clear plan in place, you can allocate time to different writing tasks, editing, research, and marketing efforts.

 

3.  Resource Allocation: An action plan also allows you to allocate resources wisely. Whether it's budgeting for writing software, hiring an editor, or investing in marketing tools, having a plan helps you make informed decisions.

 

4.  Adaptation: From time to time, you may encounter unexpected challenges or opportunities. An action plan can be adjusted and adapted to accommodate these changes while keeping you aligned with your goals and mission.

In the world of writing, a mission statement, goals, and an action plan form a powerful triad that can lead to success. 

Your mission statement defines your purpose and sets the tone for your work. 

Goals provide the direction and motivation needed to achieve your mission. 

An action plan breaks down those goals into actionable steps, helping you navigate the intricate path of a writer's life.

Remember that while these tools are essential, the writing life is also about creativity, exploration, and self-discovery. 

Stay true to your mission, adapt your goals as needed, and use your action plan as a flexible guide on your path to becoming a successful writer. 

With this triad in place, you’ll build your writing career with confidence and purpose.

Try it!

And, for more writing tips, get your free subscription to The Morning Nudge. You'll also get immediate (free) access to a private Resource Library for Writers.

Suzanne Lieurance is the author of over 40 published books and Law of Attraction coach for writers.

 

Don’t Depend 100% on Your Publisher

By Terry Whalin (@terrywhalin)

In 2007, America’s Publicist Rick Frishman invited me to participate on the faculty of MegaBook Marketing University in Los Angeles, California. At that time, I was running a small literary agency and representing authors in Scottsdale, Arizona. Mark Victor Hansen, co-author of Chicken Soup for the Soul was leading this event. Besides meeting with authors who pitched their books, I attended every single session of the event and took notes. Throughout these sessions, I learned that traditional publishers are skilled at making beautiful books with well-designed covers and interiors. Book publishers also know how to get the books inside the bookstore and available to the public.

My first book, a children’s picture book for David C. Cook, was published in 1992. Since then I had written over 50 books with traditional publishers, received a couple of six-figure advances yet most of my books had negative royalty statements. A little known but important publishing fact is ninety percent of nonfiction books never earn back their advance. All my books are nonfiction. 

While I loved writing books, I did very little promotion for my work. I had a small website (www.terrywhalin.com) but I had not blogged and had no social media presence or email list or consistent and on-going connections to my readers. I believed because I was working with traditional publishers, receiving an advance against my royalties (sometimes thousands of dollars) that my books were going to be selling. I had fallen for the myth that my publisher was going to promote and sell my book. 

During MegaBook Marketing University, I learned a key truth about publishing: publishers know how to make beautiful books and get them into bookstores, yet these actions are only one part of the process. The other key element (mostly up to the author) is actually selling the book to the consumer. Attending MegaBook Marketing University transformed my life. I could no longer assume the responsibility for selling my books would be in the hands of the publisher (or someone else besides me). I made a decision to change and take action.

Every writer needs to be able to tell stories and create an excellent book manuscript. The writing is a foundational skill for every writer. If you don’t have this writing skill, a developmental editor, ghostwriter, co-author or any other person in this role can help you create an engaging book. But marketing and selling yoiur book requires a different set of skills. . The good news is: every writer can learn to market their book. 

Writers are looking for a simple formula to sell books. If such a formula existed, then publishers would use this method and every book would make a lot of money. In fact, some unexpected books are hits while some well-written books do not get purchased. One of the keys to selling books is building relationships. John Kremer, the author of 1001 Ways to Market Your Book says marketing is about building relationships with your readers. 

Consider your reader or target audience. How much detail do you know about them? Where do they live? Where do they shop? What other books do they read? Are they active in book clubs? What are their needs and how can you write material that will meet those needs? Can you answer these and other audience questions?

One of the most effective tools for every book author is to create their own email list. As an author, you control your email list including what you say and how often you use the list. While not everyone looks at Facebook or a website or Twitter, most people open and read their email. If you email too frequently, they might not open your email or they might unsubscribe. When an author has an email list and uses it properly, it is the best way for them to reach their readers. If you are a brand-new author, how to you start a list and use it effectively?

As an author, you take control of what you can for your book. You cannot depend on your publisher to sell your book. You have the greatest passion for your book, so you need to show that passion and create an email list and different ways to connect with your readers.  

Tweetable: 

This prolific author and editor was lulled into depending 100% on his publisher to sell books. He learned this publishing myth the hard way. Get the details here. (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.

Include Diversity in Your Characters

Using Your Author Platform for Change
Contributed by Margot Conor

Authors have a powerful platform to challenge established role models and inequities in society through their writing. By using their platform to provoke thought, inspire change, and amplify marginalized voices, authors can contribute to a more equitable and inclusive literary landscape. Here are several ways they can do so:

1.    Representation and Diversity: By representing a diverse range of characters in their writing. By portraying characters from marginalized communities in prominent and empowered roles, authors can challenge stereotypes and promote inclusivity.

2.    Subverting Tropes: By subverting traditional tropes and expectations in their writing. For example, they can create complex and multidimensional characters who defy gender norms, challenge societal expectations, and break free from stereotypes.

3.    Exploring Power Dynamics: Challenge inequities by exploring power dynamics and privilege in their writing. Through nuanced portrayals of characters from different backgrounds and social classes, authors can highlight the ways in which systemic inequalities shape individual experiences and opportunities.

4.    Addressing Social Issues: Challenging established role models by addressing social issues such as racism, sexism, homophobia, and economic inequality in their writing. By shining a light on these issues and examining their impact on characters and communities, authors can provoke thought and inspire change.

5.    Empowering Marginalized Voices: Authors can challenge inequities by amplifying the voices of marginalized communities in their writing. By centering stories around characters from underrepresented backgrounds and giving them agency and autonomy, authors can empower readers to see the world from different perspectives and challenge their own biases.

6.    Promoting Empathy and Understanding: Authors can promote sympathy and understanding in their writing by portraying characters with empathy and compassion, authors can encourage readers to see the humanity in others and recognize the ways in which their own actions and attitudes contribute to inequality.

7.    Offering Alternatives: Authors can offer alternative visions of society and culture in their writing. By imagining worlds where traditional hierarchies are dismantled, and individuals are free to be their authentic selves, authors can inspire readers to envision a more equitable and inclusive future.

Avoiding Cultural Appropriation

Navigating the line between ethnically inclusive writing and cultural appropriation can be complex, especially for authors who are white. However, there are several ways they can strive to be inclusive without appropriating cultures:

1.    Research and Sensitivity Reading: Authors should conduct thorough research into the cultures they wish to represent in their writing. This includes reading books written by authors from those cultures, consulting cultural experts, and seeking feedback from sensitivity readers who can provide insights and ensure accurate representation.

2.    Avoid Stereotypes and Misrepresentations: Authors should be mindful of avoiding stereotypes and misrepresentations when depicting characters and cultures. Instead, they should strive to create nuanced and multidimensional characters who reflect the diversity and complexity of real people.

3.    Show Respect and Humility: Authors should approach the task of writing about cultures outside their own with respect, humility, and a willingness to listen and learn. They should be open to feedback and willing to make changes to their writing based on the insights of cultural experts and sensitivity readers.

4.    Focus on Universal Themes: While it's important to acknowledge and celebrate cultural differences, authors should also focus on universal themes and experiences that resonate with readers from all backgrounds. By highlighting the common humanity that binds us all, authors can create stories that are inclusive and accessible to a wide audience.

5.    Collaborate with Diverse Voices: Authors can collaborate with authors and creators from diverse backgrounds to ensure authentic representation and avoid cultural appropriation. This can include co-writing projects, consulting with cultural advisors, and seeking input from members of the communities being represented.

6.    Acknowledge Privilege and Power Dynamics: Authors who are white should be mindful of their privilege and the power dynamics at play when writing about cultures outside their own. They should approach the task with humility and a willingness to interrogate their own biases and assumptions.

7.    Promote Own Voices Literature: Authors can support and promote literature written by authors from the cultures they wish to represent. By amplifying diverse voices and ensuring that marginalized authors have opportunities to tell their own stories, authors can contribute to a more inclusive literary landscape.

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. She's preparing to debut her first novel, which means learning how to promote it. The last year has been spent 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/

 

 

On Mourning the Loss of Ask Amy for Her Daily Wisdom with My Oatmeal and Coffee Each Morning

 

The Guest Blogger with Typewriter 

She Used  in Early Ann Landers Days

To #WritersontheMove Subscribers and Visitors:

Amy Dickinson just announced that she would be retiring her Ask Amy advice column after several decades of serving readers like me who enjoy learning from others’ mistakes and successes.  Unbeknownst to Amy, we have a history that goes way back and I am pretty sure it is unique after reading her columns (and her predecessor Ann Landers’ columns) for so long.  I hope you will find it interesting and help me help her celebrate doing something new with her writing from her home in New York State.  Here it is just as it appears in the snail mail I sent to her. 

Best, 

Carolyn

A regular contributor to #WritersontheMove

Dear Amy,                                                                            June, 2024

I have been a faithful reader since you first appeared in syndicated columns at newspapers where I worked like The Salt Lake Tribune or subscribed to like the LA Times and was saddened to see you leaving even though I am also excited for the changes you will soon be experiencing. As a sort of good-bye, I thought you would be interested in the way you influenced me in ways I have never seen mentioned in your column. 

I am re-editing one of my books (HowtoGetGreatBookReviewsFrugallyandEthically) for its second edition (Modern History Press) and ran across this piece in it which—as you can see—I altered to include your replacement Eric.  I just want to share that you were a morning staple along with my oatmeal and coffee for all those decades and tell you how I will miss you your wisdom and sense of humor. 

Here is the excerpt featuring your famous column from the last chapter in my How to Get Great Book Reviews.  This first edition has been around since the mid 2000 without the few updates I mentioned:

Chapter Twenty-Two
Getting Questions Answered à la Ann Landers, Amy, or Eric

 

“There is only one thing better than learning from our own mistakes. It’s learning from the booboos, blunders, and gaffes of others.” ~ CHJ

 

So, dear reader, what if you didn’t get it right the first time! What if you feel frozen or depressed about an aspect of your review process? If you’ve read this book through, you probably suspect I don’t much like being told no or that there is only one right way to do something. It is part of my onward-and-upward-with-no-delays philosophy.

That’s one reason I love Q&A formats; they tend to highlight alternative views and illustrate what destructive thinking consists of. That love comes, in part, from some of my first experiences as a journalist. The editor at my first “real” writing job put me to work making Ann Landers’ columns fit into space allotted on page layouts the advertising and backshop departments had designed for what we then called the “Society” pages. (Advertising is where the money comes from that keeps newspapers’ presses rolling so they get first dibs on the available space on newspaper pages.) Sometimes there was not enough room for all of Ann’s letters so it was my duty to edit, cut, and fix so they fit and were still intelligible.

     In the process, I learned a lot in the letters about life’s little problems including the roadblocks similar to the ones we authors run into with reviews. Q&As are an easy way to identify problems and to make them understandable because they are anecdotal. So, you are going to get a few short Q&As that answer some questions about the review process that keep you awake at night. Sometimes they are questions about specifics, sometimes general. But they are exercises in learning from one another. All are adaptations of actual Q&As à la Ann Landers (or her Ask Amy successor!) that I use in the seminars I teach.  

###

PS: Amy, I am enjoying your reruns this month, too. Though I have to admit I have never seen one of those professed reruns when it was (theoritically) first published. Not once. Over all those decades I have been avidly reading your column.

How can that be? My memory isn’t what it once was, but I’m still not that forgetful and I couldn’t have missed more than a few of your columns while on vacation over the years. Just wondering…

And, please pass along good wishes to Eric, too!

Very best, your faithful reader, 

Success in 2024,

Carolyn Howard-Johnson

Promise yourself better editing of all your work—query letters to books--in 2024 
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