Save Time: Try an Outline-Sketch

I wrote my next book, Book two in a mystery series for 8-12 year-olds, while making dinner last night. To be more precise, every time my hands were free I jotted down plans for the book in a sketchy outline. Don't let this boast fool you, though. The one-page outline-sketch came together after the idea for the book rolled around in my head for about a year and after I collected thoughts on note paper and even wrote a detailed, single-spaced typewritten outline, all neatly collected on paper in a file folder.

The problem?

It's something I learned from the hours and hours I spent outlining my first book on gobs of notecards, post-its, bubbles on large sketch paper, and yes, a detailed, single-spaced typewritten outline and more. That story took so many unplanned twists and turns while writing it--ideas that were never written down-- that for this story I knew there had to be a better way.

Not Every Writer Would Agree
Before I started Book 1 I followed advice on writing a detailed outline from many different sources. The advice went something like this. An outline can:

• Save you hours of time and effort and even reduce writer's block.
• Help you work through problems of events and characterizations.
• Give you a blueprint to follow, even give you the advantage of seeing the entire story at a glance.
• And so on.

The wisdom of a well-developed outline didn't work for me, though. I spent much of my time making many different outlines. I started with, you guessed it, the detailed, single-spaced typewritten outline, painstakingly written over a sizable chunk of time. But while writing, I veered away from that outline. I tried to go back to the outline and rewrite it to keep the story intact to save time. I wound up spending so much time changing the outline that when I got back to the story there were still changes I wanted to make. It became a vicious cycle.

At that juncture, I tried the different methods of getting the outline of the story out: notecards, sketches, etc. When that didn't work, I gave up on outlines and simply plotted as I went along. That was time-consuming as well. I ended up following a pattern of letting the draft "rest" for a few days, then finding inconsistencies and thinking of new ways to improve the story, some of which involved major rewrites. Much of the time I felt like I was operating in a fog of uncertainty.

Your Book in a Nutshell
Here is what magically appeared on my dinner-time planner:

• The main characters were listed and their roles in the story.
• A clear idea of who the mc is and what flaw or need must be worked out by the end.
• An idea of what the theme will be. It is important to make the theme clear from the start because it needs to be addressed and solved by the end.
• The setting as imagined.
• Scenes which had already been envisioned were sketched out.
• Thoughts on the climax and ending. For a mystery, this is essential. It is the puzzle that your mc must piece together throughout the book. Knowing the puzzle in the beginning should help make the rest of the book fall into place. Also for a mystery, it's good to have a general idea of how your character solves the mystery.

This is not an exhaustive list and I haven't figured it all out yet. But I plan on keeping my outline sketchy on purpose! I'd like to write this book in a matter of months rather than a matter of years (as in Book 1). We'll see if this goal can be accomplished.

Guideposts and Skeletons
If an outline-sketch touches on the main points to be covered and actual writing is the filling, then Story Structure is the skeleton that holds everything together. There are many ways Story Structure is described, from the Story Arc, in which the scenes build tension to the climax and the ending ties up the loose ends quickly in a neat bow; to the Hero's Journey, introduced by Joseph Campbell in The Hero with a Thousand Faces (1949), according to Wikipedia, and described as:

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

I keep a copy of the Hero's Journey in a notebook which I copied and pasted from http://www.thewritersjourney.com/hero's_journey.htm. 

In his book, Story Engineering: Mastering the 6 Core Competencies of Successful Writing, Larry Brooks writes that the single most important word in storytelling is conflict. No conflict, no story. Partnering with conflict is Story Architecture/Structure. No structure, no story, either. Brooks' six Core Competencies are: Concept, Character, Story Structure, Scene Execution, Voice and the Development Process. Guess which chapter is the longest. That's right, Story Structure. I highly recommend checking out Brooks' book and his website at http://storyfix.com.

Please leave a comment about your experience with outlines. Do they work for you? 

Of course, this post addresses fiction. When I wrote nonfiction articles I followed an outline-sketch I learned from an editor: Answer the W's in the first and second paragraph and explain the how during the rest of the article; when writing for newspapers, begin with most important information as the ending can be cut off due to space limitations. Worked for me.

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she completed Joyce Sweeney's online fiction courses, picture book course and mystery and suspense course. She has currently finished her first book, a mystery/ghost story for 8-12 year-olds, and is in the process of publishing it. Follow Linda on Facebook.

Save Time: Try an Outline-Sketch

Beat the Clock with an Outline-Sketch

I wrote my next book, Book two in a mystery series for 8-12 year-olds, while making dinner last night. To be more precise, every time my hands were free I jotted down plans for the book in a sketchy outline. Don't let this boast fool you, though. The one-page outline-sketch came together after the idea for the book rolled around in my head for about a year and after I collected thoughts on note paper and even wrote a detailed, single-spaced typewritten outline, all neatly collected on paper in a file folder.

The problem? It's something I learned from the hours and hours I spent outlining my first book on gobs of notecards, post-its, bubbles on large sketch paper, and yes, a detailed, single-spaced typewritten outline and more. That story took so many unplanned twists and turns while writing it--ideas that were never written down-- that for this story I knew there had to be a better way.

Not Every Writer Would Agree
Before I started Book 1 I followed advice on writing a detailed outline from many different sources. The advice went something like this. An outline can:

• Save you hours of time and effort and even reduce writer's block.
• Help you work through problems of events and characterizations.
• Give you a blueprint to follow, even give you the advantage of seeing the entire story at a glance.
• And so on.

The wisdom of a well-developed outline didn't work for me, though. I spent much of my time making many different outlines. I started with, you guessed it, the detailed, single-spaced typewritten outline, painstakingly written over a sizable chunk of time. But while writing, I veered away from that outline. I tried to go back to the outline and rewrite it to keep the story intact to save time. I wound up spending so much time changing the outline that when I got back to the story there were still changes I wanted to make. It became a vicious cycle. At that juncture, I tried the different methods of getting the outline of the story out: notecards, sketches, etc. When that didn't work, I gave up on outlines and simply plotted as I went along. That was time-consuming as well. I ended up following a pattern of letting the draft "rest" for a few days, then finding inconsistencies and thinking of new ways to improve the story, some of which involved major rewrites. Much of the time I felt like I was operating in a fog of uncertainty.

Your Book in a Nutshell
Here is what magically appeared on my dinner-time planner:

• The main characters and their roles in the story.
• A clear idea of who the mc is and what flaw or need must be worked out by the end.
• An idea of what the theme will be. It is important to make the theme clear from the start because it needs to be addressed and solved by the end.
• The setting needs to be decided.
• Scenes which had already been envisioned need to be sketched out.
• Thoughts on the climax and ending. For a mystery, this is essential. It is the puzzle that your mc must piece together throughout the book. Knowing the puzzle in the beginning should help make the rest of the book fall into place. Also for a mystery, it's good to have a general idea of how your character solves the mystery.

This is not an exhaustive list and I haven't figured it all out yet. But I plan on keeping my outline sketchy on purpose! I'd like to write this book in a matter of months rather than a matter of years (as in Book 1). We'll see if this goal can be accomplished.

Guideposts and Skeletons
If an outline-sketch touches on the main points to be covered and actual writing is the filling, then Story Structure is the skeleton that holds your story up. There are many ways Story Structure is described, from the Story Arc, in which the scenes build tension to the climax and the ending ties up the loose ends quickly in a neat bow; to the Hero's Journey, introduced by Joseph Campbell in The Hero with a Thousand Faces (1949), according to Wikipedia, and described as:

A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

I keep a copy of the Hero's Journey in a notebook which I copied and pasted from http://www.thewritersjourney.com/hero's_journey.htm. 

In his book, Story Engineering: Mastering the 6 Core Competencies of Successful Writing, Larry Brooks writes that the single most important word in storytelling is conflict. No conflict, no story. Partnering with conflict is Story Architecture/Structure. No structure, no story, either. Brooks' six Core Competencies are: Concept, Character, Story Structure, Scene Execution, Voice and the Development Process. Guess which chapter is the longest. That's right, Story Structure. I highly recommend checking out Brooks' book and his website at http://storyfix.com.

Please leave a comment about your experience with outlines. Do they work for you? Of course, this post grapples with fiction. When I wrote nonfiction articles I followed an outline-sketch I learned from an editor: Answer the W's in the first and second paragraph and explain the how during the rest of the article; begin with most important information in writing for newspapers as the ending can be willy-nilly cut off due to space limitations. Worked for me.

Clipart courtesy of: http://etc.usf.edu/clipart/17000/17041/clock_17041.htm.

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she completed Joyce Sweeney's online fiction courses, picture book course and mystery and suspense course. She has currently finished her first book, a mystery/ghost story for 8-12 year-olds, and is in the process of publishing it. Follow Linda on Facebook.

Summer Writing Activities

Here we are at the end of July and as usual, summer seems to be slipping by us.

I hope you found time to get away, even if it's a spot in your own backyard.

Maybe you've set your writing aside while vacationing or working on projects around the house.

Sometimes rest isn't just sitting around. It can be doing something different and changing up your schedule a bit.

Here are some summer writing ideas that may be fun, help break up your routine, and energize you to finish the year out with gusto.

1) Read, read, read.

I don't read as much as I should. I used to think it was a luxury for people who had the time. Then I realized I have to make the time. Not just for relaxation but to help make me a better writer.

If you haven't been much of a reader, now is the time to start. It's been said, good writers read. Some benefits include mental stimulation, increased vocabulary, inspiration, and improves memory.

So, while you are escaping with a great novel, you are getting added benefits along the way!

2) Enter a writing contest.

My very first success came when I won in the inspirational category of one contest and Honorable Mention in another one. Both boosted my confidence and started my list of credentials. It was also very exciting to see my name in print in an anthology!

There are many, many (did I mention many?) contests out there. Do a search and you will find them. Most offer cash prizes and/or a free trip to a conference.

3) Take an online course.

Last year I took a course, How Writers Write Fiction. I am a non-fiction writer and do not enjoy writing fiction, but by the time I completed this free course, I found I could write fiction and I actually enjoyed the assignments. 

Choosing a genre you aren't interested in will help you grow as a writer. The challenge is not only fun but taps into an ability you are unaware exists.

4) Write something new.

I don't like to read poetry.

But I can write it!

Go figure.

I didn't know this until I was assigned a poetry lesson at the end of my free writing course. 

Summer is a great time to get adventurous with a new writing experience. 

How about you? What are some ways you have enjoyed the summer? 

Have you taken a full break from writing? Or is summer a time to play catch up?

Please share your comments below.

Image courtesy of Naypong at FreeDigitalPhotos.net

***

Kathy is a K - 12 subsitute teacher and enjoys writing for magazines. Recently, her story, "One of a Kind", was published in The Kids' Ark. You can find her passion to bring encouragement and hope to people of all ages at When It Hurts - http://kathleenmoulton.com

How To Increase Your Reading of Books

By W. Terry Whalin

There is an old saying in the writing community: Writers are readers. As I child in the summers, I hung out in my local library and read stacks of biographies. That early experience shaped my continuing love of reading biographies. 

While I love to read, as an acquisitions editor, I have a lot of material coming my direction. I often say that being an acquisitions editor is like trying to drink water from a fire hose. The volume of information coming my direction is staggering.

As a part of being an editor, I'm always looking to see if the writer is reading the type of material that they are pitching to me. For example, if you are a novelist and writing romance (the largest genre), I'm probably going to ask if you read romances. And if you don't that tells me something about your knowledge (or lack of knowledge) about the genre that you want to publish.

In recent months, I've greatly increased the amount of books that I'm reading through audio books. In particular, I'm using Overdrive on my smartphone. Overdrive is a free app that I downloaded on my phone and it is tied to your local library. You can check out the audio book from your library for 21 days then download the entire book on your phone. Now that I have the complete book on my phone, I can use it anywhere. I listen to the book while I walk on the treadmill. Because of Bluetooth, I listen to the same book in my car—even when I drive a short distance. Recently I've been traveling and I've listened to these audio books in the airport or on the airplane. Almost always I have my phone and have access to the audio book. 

You can have different library cards on Overdrive. Each library has purchased different books so you can access a different selection. Currently I have three library cards and recently drove into Denver to get a Denver Public Library Card because they have a larger selection of books on Overdrive. Like any library, Overdrive has a wide variety of books—fiction and nonfiction.

I listen to a great deal of nonfiction—business books, biography, memoir and how-to books. You can see many of these books just checking this location on Goodreads. After I listen to the audio book, I will write a short review and post it on Goodreads and Amazon. This regular practice doesn't take much time but increases the number of reviews I write because of the increased number of books I've been consuming. 

Are you using audio books to increase the number of books that you “read?” Tell me about your experiences in the comments below.

Tweetable:

Discover How to Increase Your Reading. Ideas at: (ClickToTweet)
________
W. Terry Whalin is an acquisitions editor at Morgan James Publishing. He has written more than 60 books for traditional publishers and his work has appeared in more than 50 print publications. As a frustrated acquisitions editor, Terry wrote Book Proposals That Sell, 21 Secrets to Speed Your Success, which has over 130 Five Star Amazon reviews. Get the book exclusively at this link. He has over 180,000 twitter followers and blogs about The Writing Life.

Writing the World Around You

Getting it Down Right

Recently I spoke to a friend about paying attention. We were talking about being observant in relationship to her home and neighborhood, but how much do we as writers also need to slow down to 'get it right'?

Here are some points to ponder:

• Details: You've probably heard the adage, 'it's all in the details.' And I agree. When reading another's work, it's the details that suck me in and take me on the journey with the author. When we as writers slow down and pay attention, adding those small details makes our writing that much more impactful. 

• Sensations: To get the details right, focus on smell, taste, and hearing as well as what you see. We have more than one sense, yet many times we forget that. Creating scenes where more than one sense is used gives a roundness to our writing that elicits connection.

• Remember when: You were a child and the simplest things delighted you? The sound of crickets? The smell of wood smoke? The way the butterfly flits from one flower to the next? These simple things that once delighted you, can pull your reader back to a similar time and place and delight them. 

• Dialog: How we talk to each other in real life is, many times, not at all how we think we talk to each other. Often in my conversations with family and friends we are finishing others thoughts, interrupting, getting it wrong, or getting it right, but still not necessarily listening well and responding appropriately. Dialog creates conflict, and also creates connections between your characters. Slow down and listen to conversations. Pay attention to how people really communicate with each other.

• Find your metaphors: Metaphors add so much to your writing, but sitting in a room in front of the computer may not be the best place in which to develop them. Instead, pay attention to the detail you are trying to convey in a different way and use those same senses above to find a connection that fits. 

In this world that seems so much about hurry, hurry, hurry, it may not be easy to make the switch to slow down, listen, and feel, but your writing will be enhanced and your readers will appreciate the effort.

______________________________

D. Jean Quarles is a writer of Women's Fiction and co-author of a Young Adult Science Fiction Series. Her latest book, Solem, the story of three generations of women in a small town in Minnesota was released in February 2016.

D. Jean loves to tell stories of personal growth – where success has nothing to do with money or fame, but of living life to the fullest. She is also the author of the novels: Rocky's Mountains, Fire in the Hole, and Perception, and the co-author of The Exodus Series: The Water Planet: Book 1 and House of Glass: Book 2. The Mermaid, an award winning short story was published in the anthology, Tales from a Sweltering City.

She is a wife, mother, grandmother and business coach. In her free time . . . ha! ha! ha! Anyway, you can find more about D. Jean Quarles, her writing and her books at her website at www.djeanquarles.com

You can also follower her on Facebook.

PEACE

 While posting to Facebook, I found one of the most timely and moving videos ever. With all the unrest in our country and all over the world, I think everyone should watch and share this video.





Thank you Reba McIntyre for creating this!

This has nothing to do with writing or marketing. It has to do with living in what seems to be an unprecedented time of hatred and terror.

There is power in just one, but imagine the power of billions. God does hear prayers.

To our readers: Would love to know your thoughts.

Writing - How to Edit in a Rush

Guest Post by Ernest Mendozza

Every writer out there procrastinates. We're not proud of it, but we tend to find ourselves in situations where we start working on a project last minute. Sometimes literally. The result is usually disappointing to everyone involved, but, hey, at least you submitted it, right? Now it's the editor's problem.

Well, if you're that type of writer who unloads a raw draft on an editor, you can be sure you're not well regarded by them. This issue has an easy fix: editing. But how do you edit something in a rush? Those of you who do it often know how labor-intensive and time-consuming it is. And aren't you risking mucking up the piece beyond repair by not having enough time to do it at a leisurely pace? Not if you know what you're doing.

Don't Print it Out

Lots of stuff has been written about the benefits of editing the old-school analog way. There are probably still editors out there who print out the digital copy they get, write notes in the margins (with indecipherable handwriting, of course), then scan and send it out to the writer. And, yeah, this method is great if you can afford to sit down with an iced coffee to take your time and ponder whether this sentence can stand to lose this or that word.

But not in a time crunch.

When you're pressed for time, doing the editing on a computer is the only way to do it efficiently. Not to mention the fact that you're saving paper this way!

Make Peace With Your Mistakes

Since you don't have a ton of time, you'll have to deal with the fact that none of your efforts are going to cut too deep into the text. If what you wrote has some deep-level issues, there's nothing you can do about it now. Make peace with what you wrote and the fact that you can only pretty much correct surface-level stuff.

And this might go against everything you've ever learned, but don't work too hard. The way you're doing this is focused on speed, not making something perfect (which, as you might know, can never be done in the first place). Instead of beating yourself up over how the piece is never going to be as stellar as it deserves to be, focus on making it the best you can with the resources that are available. That's the best you can do in this situation.

Get it Done in Two Passes

I've learned from experience (can you tell that I write in a rush often?) that two is the perfect intersection between time-saving and editing effectiveness. Two passes, each focused on a specific aspect, with a short break in the middle, are the way to go:

First, get on the sentence level. Read your entire piece sentence by sentence, trying to get to the core of what it's supposed to be. If it has obviously superfluous parts, take them out. If what you're editing is your first completed draft, consider rewriting most of them. Remember to manage your time and keep in mind that it doesn't need to be perfect at this point. If you see one sentence that can be split into two, most of the time the text will benefit from it. If you notice language that's too flowery, change it. This is the pass where you correct your grammar, too.

Second, after taking a small break to clear your mind, go through the text paragraph by paragraph. Make sure that you're not repeating yourself. Make sure that your writing is structurally sound. Overall, make sure that what you're trying to convey is being conveyed. Lots of writing suffers from being too into itself to effectively communicate something. Make sure that's not happening.

That's it! Hit send. You've done the best you can with the limits that you're under, and you can rest easy because you've submitted before deadline (or at least not as late as you could have been). Proceed to reward yourself with an ice cream.

Sources:
wikihow.com/Copyedit-and-Proofread-Written-Work
wri.tt/blog/how-to-be-a-good-editor-for-your-own-writing

About the Author

Ernest Mendozza is a writer and blogger trying to find a balance between productiveness and binge-watching Netflix at 3 a.m. He writes about innovations in tech and social media. His best friend is his dog, Milo.

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