Benefits of Writing Your Work Using Pen and Paper

 

Guest Post by Christina Q

Sometimes the old ways of doing things are better.

I began my writing journey when I was in the third grade, and back then we didn’t have computers so everything I did was handwritten.
 
Once computers came around writing became a breeze. No more hand cramps, or swollen fingers. No more tennis elbow!
 
However, something strange happened recently. As I was editing my novel for submission, I noticed those annoying red, green, blue, and yellow lines!
 
I was hit with an AH-moment.
 
The lines highlighting my mistakes are distracting!
 
When I realized this, I did some googling, cause that’s what you do when you are distracted and you need to do something while you’re in front of a computer, right? It was then I discovered something revolutionary.
 
And it was simple.
 
And it was something I had been doing since I was a little girl.
 
Handwriting out my work.

Here are three benefits of writing your work using pen and paper:
 
1.     Distractions
The moment I opened the notebook, picked up a pen and began writing three hours flew by. There were no lines, no distractions just me and the words. And it was liberating. I understand those things are meant to help our writing, but it also hinders the writing process.

Of course, you can turn those lines off but what about the internet? Sure, you could download a bunch of apps and do some fancy stuff but hey, you know how to turn that off.
 
2.     No pressure
Writing with a pen left no pressure. If I made a spelling mistake or forgot a something, I wasn’t filled with the pestering feeling that I needed to go back and rework the sentence or fix anything.
 
3.     Plot builds naturally.
The inspiration I subscribed to was the Four Notebook Method, which you can google about and take the course. In general, you use the four notebooks in an organized way to build your story like so:
 
·      Notebook 1: This is where your problem starts. Things are so bad that by the end something has to give!
·      Notebook 2: Here we create the challenge that our problem in Notebook 1 caused, but by the end, things start looking up.
·      Notebook 3: In this notebook, things go from bad to worse. This is where your characters ask themselves, can we ever solve this issue?
·      Notebook 4: Big finish! This is the confrontation or the change that happens. You know where everything comes together or leaves on a cliffhanger.
 
I know convincing someone to ditch the computer and return to the Stone Age is a hard nut to crack but trust me. But the freedom to create and explore your imagination is worth the callus returning on your finger (in my case my ring finger), and the hand cramps.
 
Since adopting this method, I’ve never felt more refreshed and excited about writing. Bringing back the love I had when I first discovered story writing in the third grade.

So, what are you waiting for, go get yourself some notebooks!  
 
ABOUT THE AUTHOR
 
Christina is the Friend-obsessed creative behind Christina Q Writes. As a full-time freelance writer, she helps clients in need of fantastic content. Christina Q Writes is where she tips on awkwardly getting through the day, with or without a good glass of wine or a good cry.  
 
Instagram:@Christinaq.Writer
 
Links: Website: https://www.christinaqwrites.com
 

Critiques and Writing

 

Contributed by Karen Cioffi, Children's Writer

As a children’s editor and book reviewer, I’ve read lots of manuscripts and books, and it’s easy to tell which authors haven’t bother to have their work critiqued.

Any advice I give on writing for children or writing in general, I always include the importance of honing your skills and belonging to a critique group. Even experienced authors depend on the unique perspective and extra eyes that each critique member provides.

The critique group can catch a number of potential problems with your manuscript:

1. Grammatical errors
2. Holes in your story
3. Unclear sentences, paragraphs, or dialogue
4. The forward movement of the story
5. Overuse of a particular word, adjectives, and adverbs
6. Unnecessary words that should be removed to help create a tight story
7. Dangling teasers – particular content in the story that may leave the reader dangling if not developed and followed through with
8. Inappropriate word usage, especially in the case of young children’s stories
9. Inappropriate actions on the part of the protagonist, specifically in the case of young children’s stories
10. Consistency

The list goes on and on.

And there are many more potential problems to be watched for when writing for children. It's nearly impossible for even experienced writers to catch all their own errors.

Here’s what else a critique group can do for you.

Objective Feedback:
Your critique partners will also provide objective feedback and constructive criticism of your work. This feedback will help you identify strengths and weaknesses in your writing, helping you to improve your writing skills.
 
Note here that it is up to you whether to heed those suggestions and comments, but if all the members of your group suggest you rewrite a particular sentence for clarity, hopefully, a light will go off and you'll pay attention.

With those extra sets of eyes to help, you will begin to see your writing improve. You will also be able to find your errors and those of others much quicker. A critique group will help you become a better and more confident writer.

Diverse Perspectives:
Different members bring unique perspectives, enriching the feedback with various viewpoints and ideas that can enhance your work.

Accountability:
Regular meetings and deadlines can help you stay motivated and productive, providing a sense of accountability.

Exposure to Different Genres:
Depending on the type of group you join, engaging with writers that write in various genres can broaden your horizons and inspire new ideas.

Learning to Critique: Giving feedback to others will hone your critical skills, which can be applied to your own work.

Summing It Up

While the critique group does not take the place of an editor, they do help you get to the point where you think you're ready for submission. At this point, it’s always advisable to seek an editor to catch what you and your critique group missed.

When considering joining a critique group, be sure the group includes both new and experienced writers. The experienced writers will help you hone your craft just through their critiques of your work.

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:

FICTION WRITING FOR CHILDREN ECOURSE
A guided self-study course and mentoring program.

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

WRITERS ON THE MOVE PRESS
Self-publishing help for children’s authors.

Make your Main Characters Memorable

Abi and Jess gallop their horses
in Secret in the Mist,
illustration by Danika Corrall,
soon available on Amazon.

By Linda Wilson   @LinWilsonauthor

In my Abi Wunder series, you might say I have two main characters: Abi and her friend, Jess. Or in terms we all understand: Abi is the big cheese and Jess is her sidekick. However way you look at it, the two need to be distinctive with their own agendas and their own personalities.

Thus began Abi’s and my quests. Hers to root out ghosts stowed away in spooky locales, me to make her (and Jess) the most unique, fun, interesting, endearing, and with all that going for them, memorable, characters they can be.

Think of some of your own favorite characters and how they have influenced you as a child, and perhaps even as an adult. Alice from Lewis Carroll’s Alice in Wonderland, is “one of the most beloved characters ever created.” The mischievous Peter Rabbit of Beatrice Potter’s The Tale of Peter Rabbit, and Charlotte, the wise spider who saved Wilbur the pig's life, in Charlotte’s Web, by E.B. White, to name a few. (Children’s Book Mastery)

Make Your Characters Memorable

Your readers will discover little pieces of themselves in your characters as long as you make your characters relatable. Here are some qualities to think about for your characters.

• A distinct personality: In the two books (so far) in my Abi Wunder series Abi views her life through an artistic lens. She takes her sketchbook along wherever she goes. 
• A quirk or a special personality trait: Abi discovers strengths she didn’t know she possessed, including the ability to see ghosts! 
• A personality trait: Abi is passionate about her family members, especially about her grandma who has recently passed away. In The Secret in the Mist her grandma’s ghost returns and their bond grows even stronger than it had been during her grandma’s lifetime. 
• A flaw: Abi lacks self-confidence, is shy, and afraid of the unknown.
• The ability to overcome their own problems: In Secret in the Mist, the second book in the Abi Wunder series, Abi’s friend Jess invites her to help discover why the ghost of a young girl, known by locals as the Misty Maiden, has haunted Jess’s neighborhood for two centuries. Why does the ghost keep returning? Abi crosses many hurdles to find out why, discovering a way to get to know the ghost and how to help her out of her predicament.
• Other traits: likability, being an inspiration, being courageous, and being funny.

What Children Can Take Away from Getting to Know your Character

Your readers can experience many life lessons by simply getting to know your main character. Here are some traits of your main character readers can look up to and strive for in their own lives.

• Being a role model: By imagining themselves in your character’s shoes, your readers can learn what it takes to be a hero. Abi goes on many adventures in her quest to help the Misty Maiden. Coming from her home in an apartment in town, she accompanies Jess at her home in the country, in the dark of night with no but the moon and cell lights; on dirt roads; even on a ride on a motor scooter. By horseback, she rides on narrow, woodsy trails on a challenging horse after knowing only the basics of horseback riding, even finding the courage to gallop her horse without fear.
• Developing moral responsibility: At the last minute before going back to Jess’s house for their curfew, Abi and Jess discover some household belongings that had been stashed in a cubbyhole underneath the floor in an old farmhouse. Among the goods are a doll, and a Bible that has a Family Record in it that could contain information about the ghost. It’s tempting to take the doll and Bible with them to look at in Jess’s room. However, Abi cautions against it. It would feel like stealing. None of the items belong to them. 
• Other valuable traits: The importance of being a good friend, being courageous, and being kind. Abi possesses all these qualities.

In the article from Children’s Book Mastery, children’s book author and editor Marcy Pusey has offered a “Character Interview,” to help children’s authors develop relatable characters,  which she has kindly made available with this downloadable character interview copy.

Taking the time to craft relatable characters is well worth it. Your characters will live on in your readers’ imaginations long after they finish your book. 

Sources:

https://childrensbookmastery.com/from-protangonists-to-sidekicks-types-of-childrens-book-characters/     

https://www.johnhearnauthor.com/post/who-are-the-best-sidekicks-in-childrens-fiction 

https://www.writing-world.com/victoria/crafting06.shtml 

Danika Corrall can be reached at hello@danikacorrall.com 

Book fairs are a great way to sell
books and get to know your readers.

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.

Why You Lose Motivation After You Take Action

by Suzanne Lieurance

It’s happened to you before.  

In the comfort of your home at night, you’ve laid out your plans to write your book or start your freelance writing business.

 

Then the sun comes up, and all that certainty and motivation start to waver.

 

You put your plan into action for a day or two and decide you’re miserable. 

 

You think that you’d rather stick with your mediocre life than pursue all of those goals.

 

What happened?

 

Motivation is challenging to maintain after the initial excitement wears off. 

 

Here’s why:

 

1.    Planning is fun. 

 

You’re lying on the couch on a lazy evening, dreaming about the book signings you do or all the zeros you’ll be adding to your bank account thanks to your freelance writing business. 

 

The path is as clear as the nose on your face. 

 

How can you not be motivated?

 

●            Everything is easy in your head. 

 

It’s not much fun calling or emailing perspective clients or writing a difficult chapter in your novel.. 

 

Anyone can daydream and sketch out a plan. 

 

The hard part is doing the actual work.

 

2.    Distractions. 

 

Since executing your plan is less than glorious each day, distractions become quite appealing. 

 

Netflix, the Internet, and playing Crossy Road on your cell phone are bit more exciting. 

 

Distractions can kill dreams if you let them (Note: refer back to my previous article about evaluating distractions to see which ones you can turn into opportunities).

 

3.    Too focused on results rather than processes. 

 

Results come slowly. 

 

This is especially true at the beginning. 

 

It’s not too exciting when you write only a few paragraphs in a week or get rejected by many perspective clients. 

 

If results are the only thing that receive your attention, you’ll have a hard time staying the course.

 

●   Work for a victory each day. 

 

You can’t make a lot of progress each day, but you can adhere to your plan. 

 

Feel good that you followed your plan and your processes today. 

 

Get addicted to that positive feeling. 

 

The results are sure to come along.

 

4.    Too concerned with what others think. 

 

It’s important to be motivated internally. 

 

If you only want to write a book or make money to impress others, your motivation won’t last.

●   Reach inside and find a personal reason for chasing your goal. 

 

Doing anything to impress others results in a hollow victory, if you achieve a victory at all. 

 

But do it for yourself, and you’ll feel proud and happy.

 

5.    Too focused on the short-term.

 

Instead of dreading how you have to spend your day, remind yourself of the reward at the end. 

 

Remind yourself of how great you’ll feel when you’re successful. 

 

Visualize your success each morning and evening.

 

6.    You are naturally driven to seek comfort. 

 

Our minds and bodies don’t like discomfort. 

 

We’re programmed to be attracted to those things we find comfortable, whether it’s a nice, warm couch, potato chips, or hanging out with friends instead of working through a chapter of our novel.

 

●   Your mind is fighting you on some level when you spend your time doing something unenjoyable. 

 

To counteract this, find something you like about your new routine and focus on that.

 

What are your plans for the future? 

 

Are you finally going to make them happen? 

 

Maintaining your motivation is important.

 

Learn to celebrate the daily victories regarding your behavior. 

 

Internal motivation will always beat external motivation over longer periods of time. 

 

That initial burst of excitement fades quickly but stay the course and you’ll reach your writing and career goals!

For more writing tips, be sure to visit writebythesea.com and get your free subscription to The Morning Nudge. Once you're a subscriber, you'll also have access to a Private Resource Library for Writers.

Suzanne Lieurance is the author of over 40 published books, a freelance writer, and a law off attraction coach for writers. 

 

Searching for the “Right” Fit

By Terry Whalin (@terrywhalin)

Some days the odds of getting published seem impossible for anyone. Literary agents and editors receive several hundred pitches for books A WEEK. The sheer volume of material makes it hard to get noticed by publishing professionals.

Sometimes authors don’t get published because they don’t send in their material to be considered. It wasn’t the case with an author I met last year who had a beautiful, well-written book. She had crafted her story then paid an outside editor to hone her manuscript into a riveting personal story. Week after week she sent her query and pitch to literary agents. Many times, she didn’t even get a response or form rejection letter. Yet she continued to send her material. Finally, the manuscript landed in my in-box and I read it, enjoying the writing. I told this author about Morgan James Publishing who accepted her book and published it. 

Getting your book published is the first step in the process. There are many decisions in this area such as a traditional publisher or self-publish or a hybrid publisher. Every author has to put in the work to explore these options.

Your Pitch Needs to Be Electronic

I encourage every writer to keep growing and challenging themselves to find new avenues to enter the marketplace. As an acquisitions editor at Morgan James Publishing, I know the company receives many submissions. In fact, the company receives over 5,000 submissions a year. Out of that number only about 200 books are published. Yes, that is a high volume of rejection but as editors, we are always looking for the right authors and compelling material.

Every publisher requires the author to send an electronic version of their manuscript or proposal. It is the only way to get your material into the consideration process with an editor or agent. Submit your manuscript to the editor or agent in a format they can read. I’ve met authors who do not type. If you don’t type, then take a typing course or figure out your way around this barrier.

Make sure the format of your submission is not the issue. The reality is every editor and agent receives many submissions. Sometimes things do get missed and we are not perfect in this process. Just make sure it is not your issue before you reach out to someone else.

Follow the editor’s or agent’s guidelines. If you don’t follow directions, then you can’t get considered. Each of us need to follow-up to make sure we are giving the editor what they need. As editors and agents, we receive volumes of material and want to help but have limitations on our own time and resources.

As a writer, you are searching for the right fit for your submission. It will take effort on your part to find this. Good communication is important every step of the way. Sometimes it takes some digging to figure out why I am not connecting with an author. I will reach out to the author and encourage them, in any way that I can, to get their manuscript to me. 

I have good news for you. Editors and literary agents are actively looking for the right books and authors. Writers need to do their research and persist in this process to find the right fit.

Tweetable: 

If you are searching for an agent or publisher, this prolific writer and editor gives insights about the submission process. Learn 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.

Writing: Context, Content, Conclusion

 

Contributed by Margot Conor

Popular stories normally have what is called a three C’s structure. Context, content, and conclusion. They are the crucial components that can be applied at various levels of your writing to ensure clarity coherence and impact. Context, which is the why of it. Followed by the content, which can be the details of a paragraph, or an entire story, and finally the conclusion.

This is a simple way to break down your process and can be applied in a tight construction for example in every paragraph. Or can be used more loosely for each chapter or section.  

If you are writing a short story, you may only use the three C’s once. Creative writers tend to apply these without really thinking about it. It’s the pattern of story-telling we grew up with, it’s what we know from fairy tales.

As an exercise, you might try consciously using the three C’s in each paragraph of a story. I believe if you are a Plotter you will find this technique easy. As a Panster, thinking of doing that makes my head wobble. It is far too constricting. However, once per chapter is doable.

WITHIN EACH PARAGRAPH

1.    Context: Start each paragraph by providing context. This sets the stage for the reader and ensures they understand the background or the main point that will be discussed. This could be a sentence or two that introduces the topic or provides a transition from the previous paragraph.

2.    Content: Follow with the main content of the paragraph. This is where you present your key ideas, arguments, evidence, or details. Ensure that the content is well-organized and focused on the paragraph's main idea.

3.    Conclusion: Conclude the paragraph by summarizing the main point or providing a transition to the next paragraph. This helps reinforce the key message and prepares the reader for what's coming next.

WITHIN EACH SECTION OF A STORY OR CHAPTER

1.    Context: Begin each section or chapter with context. This could involve setting the scene, introducing characters, or providing necessary background information. Context at this level helps orient the reader within the broader narrative.

2.    Content: Develop the main ideas or plot points within the section. This is where the bulk of the story unfolds, characters develop, and key events take place. Ensure the content is engaging and drives the narrative forward.

3.    Conclusion: End each section with a conclusion that wraps up the events or ideas discussed. This could be a cliffhanger, a resolution of a conflict, or a summary of key points. A strong conclusion at this level keeps the reader engaged and eager to continue.

WITHIN THE ENTIRE STORY

1.    Context: Provide context at the beginning of your short story. This includes the setting, initial character introductions, and the premise. The context should be compelling enough to hook the reader from the start.

2.    Content: Develop the story or chapter with rich content. This includes plot development, character arcs, and thematic exploration. Ensure that each chapter contributes to the overall narrative and keeps the reader engaged.

3.    Conclusion: Conclude the story or chapter with a satisfying ending. This could involve resolving the main conflict, providing a twist, or setting up for the next part of the story. A strong conclusion leaves a lasting impression and provides a sense of closure or anticipation.

Examples

If you examine the stories or books you’ve read, or even the movies you watch, you will be able to point to where this structure is applied. Here are a few examples of Context from Fairytales that introduce key elements of the story that follows:

1.    Cinderella
o    Context: "Once upon a time, in a faraway kingdom, there lived a beautiful young girl named Cinderella. She was kind and gentle, but her life was made miserable by her wicked stepmother and stepsisters."
o    Explanation: This opening line provides the reader with essential background information: the setting (a faraway kingdom), the main character (Cinderella), her positive qualities (kind and gentle), and the source of her conflict (wicked stepmother and stepsisters).

2.    Little Red Riding Hood
o    Context: "Once upon a time, there was a little girl who lived in a village near the forest. She always wore a red riding cloak, so everyone called her Little Red Riding Hood."
o    Explanation: This context introduces the main character (Little Red Riding Hood), her distinctive feature (red riding cloak), and her environment (a village near the forest). It sets up the reader to understand the character's identity and where the story takes place.

3.    Snow White
o    Context: "Once upon a time, in the middle of winter, when snowflakes were falling like feathers from the sky, a queen sat sewing at her window, which had a frame of black ebony wood."
o    Explanation: This opening provides a vivid description of the setting (winter, snowflakes, queen sewing), establishing the scene’s mood and hinting at the magical elements that will be important in the story of Snow White.

4.    Hansel and Gretel
o    Context: "Once upon a time, a poor woodcutter lived at the edge of a large forest with his wife and two children, Hansel and Gretel."
o    Explanation: The reader is introduced to the main characters (woodcutter, his wife, Hansel, and Gretel) and their living situation (poor, edge of a large forest). This context sets the stage for the challenges and adventures the characters will face.

CONTEXT IN DIFFERENT PARAGRAPHS AND SECTIONS

Applying the concept of context within different parts of a fairytale can ensure each section or paragraph is clear and sets up the subsequent content effectively.

1.    Within a Paragraph:
o    Context: "As she walked through the forest, Little Red Riding Hood felt the cool breeze and heard the rustling leaves."
o    Content: "She admired the tall trees and picked some wildflowers along the path."
o    Conclusion: "But soon, she realized she had wandered far from the familiar path."
2.    Within a Section:
o    Context: "The king's castle stood high on a hill, overlooking the entire kingdom."
o    Content: "Inside the grand hall, the king sat on his throne, worried about the future of his realm. Advisors and knights were gathered, discussing the imminent threat."
o    Conclusion: "As the discussions continued, a messenger burst through the doors with urgent news."

By using The three C’s effectively at different levels, writers can ensure their readers are always oriented and engaged, understanding the background and the significance of the events as they unfold.

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/

Your Best Edit is Your Manual Edit: Do It Feeling Virtuous

                     Your Best Manual Edit: Feel Virtuous. Save a Tree!

Cover Photography by Anne Howell

By Carolyn Howard-Johnson

 

This article is excerpted from the winningest book in my HowToDoItFrugally Series of Books for Writers, #TheFrugalEditor, now in its third edition.  It’s from one of my daring departures, a little one-page essay on editing or…mmm…maybe a diatribe on one of my pet projects as it relates to editing—in this case the environment.. My publisher and I came up with the rather sedate title of “The Frugal Editor’s Extra" for all twenty of them numbered sequentially. (This one is number two.) They get placed sporadically at the end of selected chapters. Come have some editing fun with me. 

 

The Frugal Editor’s Extra #2:
Your Best Manual Edit. Feel Virtuous. Save a Tree!

 

I know some of us cheat on our manual edits by using a computer or we didn’t realize how superior a manual edit is to one done on  a screens. But really, a manual edit  can’t be fudged. You may resort to the keyboard because you are working at saving the planet. So feel virtuous. And thrifty. So, do it by printing your manuscript on your own recycled paper and feel just as righteous—and almost as thrifty.

We’re not talking about the reams you buy labeled with the recycled logo, though I’m glad you do. We’re talking paper printed on only one side that comes across your desk or out of your computer’s printer. I finally trained my husband to save his once-used paper for me to recycle, too. Our paper gets one more (great!) life before it becomes fodder for our city’s recycle bin.

To do this, salvage paper as it’s produced in your office and rescue the good stuff from your junk mail. Arrange the new ream of leftovers you are accumulating so the printed sides are all facing the same way and tamp them a bit so the edges line up to prevent your printer from rejecting them. When in manual editing mode, carefully put these salvaged reams into your printer tray with the clean sides facing up or down, depending on your printer’s preferences.

 

ABOUT THE AUTHOR

 

Carolyn Howard-Johnson is the author of the HowToDoItFrugally Series of books for writers and also coauthored a book honoring the Earth by reaching across hemispheres to work with Aussie Magdalena Ball. It is Sublime Planet, featured in the Earth Day Issue of The Pasadena Weekly and recipient of Dr. Bob Rich’s Life Award (Literature for the Environment). “Endangered Species,” a poem in it, was the recipient of  the Franklin Christoph prize and the book was honored by USA Book News. All proceeds go the World Wildlife Fund. It is part of Carolyn’s and Magdalena’s  Celebration Series, each a gift of poetry suitable for different holidays.

“Every day is #Earth Day.”  

“…no dictator can monopolize the sun. No autocrat can control the wind.”

~ Greenpeace

[and neither should they be used to threaten the planet with annihilation!” 

~ Carolyn 🌞]

 

“…beautifully written and poignantly sad, as the reader considers 
harsh climate issues happening now.”
~ Carolyn Wilhelm for Midwest Book Review