Katie Klein is on Hiatus

It's the most wonderful time of the year. . . .

And after an amazing Thanksgiving with family and a weekend spent decorating my house for the holidays, I've decided to take December off from the blog to recharge/regroup, work on my WIP, and maybe find some time to watch all of my favorite Christmas movies (the season really doesn't last long enough).

Twitter will stay updated (to a certain degree), so make sure you're following me there in the event I stumble upon news to share.

Otherwise, I wish you a safe and happy holiday season and will see you on the other side.

Be Brilliant!

~Katie~

From Blocked to Brilliant: Tips for Keeping the Creative Spark Alive

It's no secret that the key to a successful writing career is creativity, but the creative process itself? Yikes.

Whether you're a seasoned writer or just starting out, there are times when the ideas seem to dry up or you get caught in a rut, writing the same thing over and over or only when you feel "inspired." 

So what happens when your creativity starts to dwindle? 

Here are five tips to help you keep the creative spark alive and burning bright. 

1. Read, read, and read some more. 

Make time every day to read something, whether it’s a blog post, a book, or articles on your favorite website. The more you read, the more ideas you’ll have to fuel your own writing. (For me, this also applies to watching movies.)

2. Switch up your normal routine. 

If you always write at the same time of day, in the same place, try shaking things up a bit. Write in the morning instead of at night, or vice versa, or try a new location.

3. Take some time for yourself. 

When you're feeling blocked creatively, it can be helpful to take some time for yourself, even if it's just 10-15 minutes. Step away from your work and do something that relaxes you. This can help clear your mind and give you a fresh perspective.

4. Talk to other writers. 

When you're struggling with your writing, talking to other writers can be incredibly helpful. Many have been there before and can talk you through it.

5. Do your best to write every day. 

Even if it's just a few hundred words, getting into the habit of writing regularly will help keep those creative juices flowing.

It's not always easy to keep the creative spark alive, but the ideas are out there, and if you can keep the faith (and your eyes and mind open to the possibilities), who knows? 

The next idea that hits could be the one that catapults you to bestsellerdom. 

Be Brilliant!

~Katie~ 

Happy Thanksgiving!

To all my stateside friends (and anyone celebrating around the world): 

Book Recommendation: The Essential Books on Writing

We're moving into the holiday season, so I can already feel things both speeding up and slowing down simultaneously (doesn't really help that the future of Twitter hangs in the balance), but before I go on my holiday hiatus, I just wrapped up another writing reference guide that I think you'll appreciate.

My official review:

Whether you’re preparing to write your first masterpiece or churn out your next bestselling novel, The Essential Books on Writing boxed set by Bryn Donovan has everything you need to get started and more. This collection is jam-packed with ideas, and part of its appeal lies in the fact that it doesn’t need to be read from cover to cover. 5,000 Writing Prompts and Master Lists for Writers are reference guides that include super-creative story prompts and thoughtful, easy-to-navigate lists covering plots, words, names, and character quirks (among many others). 

In Blank Page to Final Draft, Donovan offers writing insights that are both practical and actionable. Selections that stand out include the advice on how to end a chapter, the questions to ask beta readers so they know what to look for, and how you can turn a character’s good quality into something negative.

Any writer at any stage can benefit from any of these books, but I think more seasoned writers will appreciate the plot and word lists while first-time novelists will appreciate Donovan’s approach to writing a book, which allows them to work at their own pace.

*I was gifted an ARC of this book to review, but this in no way swayed my opinion. For me, this Essential Books collection is an easy five stars—an exceptional resource for any writer in search of new ideas and inspiration for their next project and practical advice on how to get their story from their head to the page. 

If this is a resource you feel like you might benefit from, you can learn more here.

As always:

Be Brilliant!

~Katie~

John Matthew Fox: In Conversation

Last week I mentioned I had the pleasure of snagging an ARC of John Fox's new book The Linchpin Writer: Crafting Your Novel's Key Moments, and it really is unlike the other books on writing out there. You can read my full review here, but it's a welcome addition to any writer's bookshelf, in my humble opinion (and I've read A LOT of craft books, y'all).

So I'm thrilled that John was willing to answer a few questions I had post-reading. 

Enjoy!

*     *     *

You explain what a linchpin is at the start of your book, and I've heard the term applied to people in the business world or in a community--someone who is vital to an operation--but I've never really thought about being a linchpin from a writer's or a writing standpoint. What made you choose this angle for your book?

I'd been doing developmental editing on novels for years and I realized that I kept on giving advice about the same sections of their books. And I realized the pattern held across a large number of novels, that writers struggled to write the most pivotal scenes in their book. And if they messed up on those scenes, there was an excellent chance that the reader wouldn't connect with the book as strongly. So I wanted to write a book helping as many writers as possible with those crucial parts of their story.

That's awesome. I teach undergrads on the daily, so I totally understand those patterns that show up again and again in feedback. What would you say you enjoy most about the writing process?

I remember that Jonathan Safran Foer once said that if he wasn't a writer, he would have become a builder. And I understood that comment. Writing is simply building with words. Slap some mortar of verbs, put on a brick of a noun, build an object that's tall or thick or beautiful.

Oh, I LOVE that metaphor!

Yeah, so I love the building aspect of writing, the feeling of constructing a narrative. And so really, my favorite part of writing is the imagination. Of designing characters so they feel unlike everyone else, of designing a world that feels different from ours and yet similar, of designing a plot that isn't hackneyed and ready-made, but feels original and wild.

I might not be the best prose stylist in the world, but I sure do write stories that nobody else has put on the page.

I haven't read your fiction (yet!), so I can't speak to your prose styling, but I really loved your command of structure and tone in The Linchpin Writer. It's a smart book, but I didn't feel like I was being talked down to. It was accessible, but I didn't get the feeling that you were diluting anything to appeal to a base audience (that may have come out wrong, so if I offended anyone by saying that, I'm sorry). I just loved that the whole book is so practical and encouraging while still maintaining that literary or sophisticated bent. So what advice did you leave out of the book that you might offer a fledgling writer?

Don't work on creating the perfect book. 

Perfect books are quite boring to read. Perfection is too surface-level. First, work on creating a book that has flaws, but which gives the reader pleasure. That forges into new territory, that feels different than other books out there, that is the type of book you haven't read yet but wish it existed. So many amazing books have minor flaws, but I enjoy them because of what they tried to accomplish, and their imperfections seem beautiful to me.

Small example: the cranial mediations on the whale in Moby Dick. Was it a mistake? Should an editor have taken it out? Well, yes. But the book is still marvelous in spite of it.

Next, work on creating yourself into the type of person that can write a fantastic book. That means putting in the time at the desk. That means reading every day. And set a goal for the number of books you want to read for the year -- 50? 75? Over 100? And keep a notebook of everything you learn from those books, so you're not just consuming but you're analyzing the books to see what they teach you. That also means finding a writing community and getting words on the page.

If you force yourself to write a book, that's good, but you just have a book. Instead, grow yourself into a better writer. So you can write book after book after book.

That's a lot of fantastic advice. I've been playing this game long enough to see trends come and go (and come back again) and the whole state of the industry change. I've done the traditional pub thing, the self-pub thing, and it really comes down to not only loving what you do, but taking it seriously: showing up and doing the hard work and being willing to adapt at every turn. 

So I don't want to spoil this story because it's in the book, but it nearly broke my heart. You mentioned mentoring a young girl from India who was struggling to become a writer (against her entire society's wishes). If you could have any author (living or dead) mentor you, whom would you choose and why?

This summer, I flew out to Key West for the Hemingway look-alike contest. 150 guys who look like Hemingway, all competing to be crowned that year's champion. I went with my book club, and we drank Hemingway's rum, toured his house, saw his trophy fish, ran with the bulls in the bull parade, competed in the fishing contest, posed with all the Hemingway models, and drank a lot (as Papa would have liked it).

It felt like a good life. If Big Papa could rise from the dead and give me a few tips on my novel, I wouldn't say no.

God, you have the most AMAZING writing group/book club. I honestly loved these stories in The Linchpin Writer as much as I loved the advice, and I won't pretend I'm not super jealous of your travels because I am. 

Thank you so much, John, for dropping by the blog. It was a pleasure. Truly. :)

*   *   *

The Linchpin Writer is on sale now. Check it out, if you haven't already. Again, here's my review, but you don't have to take my word for it. The five-star ratings are strong with this one. 

You can also follow John on Twitter: @bookfox

And his website is PACKED with awesome content (check out his blog, first).

Be Brilliant!

~Katie~

“If it has ever happened to a human being, it is worthy of inclusion in a book. 

It doesn’t matter if it offends someone or breaks a taboo—

the role of books is to say what seems unsayable.” 

-John Fox

The Linchpin Writer - Review

There are moments in our stories that can make or break them.

These are “linchpin” moments, and in a world deluged with tomes on craft, John Matthew Fox has brought a new angle and fresh insights to the writing conversation.  

The Linchpin Writer is divided into three main sections: firsts (paragraphs, description, dialogue), emotions (sorrow, wonder, desire), and endings (chapter, story, character). Each chapter concludes with actionable advice and prompts, and to expand on the ideas, Fox offers a clear pathway to the resources on his blog, where we can take an even deeper dive into the subject matter.

There are insights aplenty for both the neophyte and the seasoned professional, and along with the analysis and breakdown of what works and what doesn’t, Fox proffers stories of his travels and some of the high and low points of his career to deepen the insights and encourage writers to stay the course. 

You won’t find detailed instructions on world-building or character development. That’s already been done by hundreds of other writers in thousands of other books, and that’s not the purpose of The Linchpin Writer, anyway, which is precisely what makes it a welcome addition to any bookshelf. 

With its excellent guidance on nailing key moments in your novel, clear and concise explanations for each topic, and encouraging tone, The Linchpin Writer is exactly what we writers need: nothing more, nothing less.

The linchpin moment of Fox’s book just might be the final sentence, which is a swift sock to the gut to anyone who calls themselves a writer. But I won’t spoil it here. I’d simply encourage you to pick up a copy of The Linchpin Writer, read it, and answer for yourself. 

The Linchpin Writer goes on sale this week. Inside, you'll find the keys to creating memorable moments in your fiction and tips for creating stories that will stay with your readers long after they've finished. 

*I was gifted an ARC of this book to review, but this in no way swayed my opinion: an easy 5/5 stars for any writer at whatever point of the journey they might be on.

*   *   *

Stay tuned, because I have an interview with John posting in the next few days. :)

~Katie~ 

The Biggest Fan: Why Every Writer Needs Someone to Believe in Them

Writing is hard, it's often thankless, and it's full of rejection. 

Every. Single. Day. 

Rejection.

If you're a writer, you probably already know how important it is to have someone on your team--someone who believes in you.

Why?

Photo by fauxels

1. Motivation

Having someone believe in your writing gives you the confidence to get started and keep going, even when it's tough. Sometimes all you need is a little push, and this person is here for it.

2. Confidence

Knowing that someone out there thinks your work is worth reading can make a huge difference. They know you have what it takes, and they never hesitate to tell you. 

3. Feedback

An ardent supporter is someone to bounce around ideas with, making it easier to get feedback and constructive criticism. This becomes invaluable when developing your stories and craft.

4. Encouragement 

They push you to be better and help you reach your potential, cheering for you the entire way. This can mean the difference between getting published and giving up too soon.

***

Every writer has a story to tell, but not every writer has someone who believes in them. 

I won't go so far as to say that a support system is essential to a writer's success, but having someone in your corner through the discouragement and the vulnerability--when the rejections pour in--can be a huge motivator to keep at it.

So if you're a writer and there's someone in your life who fits this description, cherish them. 

If you're not a writer (and you stumbled across this post by accident) but there's a writer in your life, be that person for them. 

If you're a writer without a tribe, consider joining a writing group (in-person or online) and start building relationships with other writers who can be that system for you.

And if you're in need of a quick pick-me-up, feel free to drop me a line or tag me in a tweet.

I'm more than happy to be that person for you.

Be Brilliant!

~Katie~

Setting Goals that Work for You

When it comes to achieving our writing goals, motivation is key. But sometimes it's hard to stay motivated, especially when we're facing challenges. 

(I wrote an entire book on how to work past those challenges, btw.) 

With #NaNoWriMo coming up and thousands of writers making plans to sit down at the keyboard and pound out those words, I thought I'd post a few reminders about staying motivated and working toward your goals.

Photo by Engin Akyurt

1. Be realistic. 

It's important to set goals that are actually achievable. 

Yes, it's possible to write a book in 30 days. It's less likely this can be accomplished in a single weekend. Don't set yourself up for failure by demanding something of yourself that isn't attainable. Goals should be challenging but not impossible. 

2. Get an action plan together.

Once your goals are set, break them down into smaller steps. 

It's possible to write 50,000 words in a single month, but it means sitting down and writing 1,666 words every day for those 30 days. That might mean writing 833 words in the morning and 833 more words at night. Or it might mean writing 416 words every hour for four hours. 

Either way, having a plan of action will help you stay on track and focused on what you need to accomplish.

3. Take things one step at a time. 

Trying to do too much at once can be overwhelming and lead to discouragement. 

I've only been able to participate in NaNoWriMo one time many, many years ago. As much as I adore this idea and as hard as I cheer everyone else on, my work schedule just doesn't allow me much free time in November. I'd be more likely to sign up if it were in June or July. 

The point? Don't set a goal or make a plan that's going to tip your (already full) plate of responsibilities. If you can't write a novel in thirty days, why not extend your finish line through the month of December? Give yourself 60 days, instead. 

Only you know what you're capable of realistically accomplishing. 

Push yourself, but don't push yourself. That is, don't push yourself past your reasonable limit. :)

And above all:

Be Brilliant!

~Katie~ 

Writing as Therapy: How Pen & Paper Help Us Heal

"This was so therapeutic." 

These are the words I see most often on the submissions for the "humiliation" piece in one of my classes. 

This is a creative non-fiction assignment that asks my students to examine an embarrassing moment or a dark secret--something they've never told anyone, are still working through, or have finally overcome.

Affairs, divorces, abortions, abuse.... 

I've read it all.

Outside of the requisite writing feedback, I am a no-judgment reviewer. They can tell me anything.

So yes, writing is therapeutic.

Photo by Cristian Escobar

It's a way to process and release emotions surrounding a specific event. It helps us understand our emotions or even view the situation from a different perspective. 

It can help us cope with anxiety and reduce stress. It can help us sort through our emotions and gain insight into our thoughts and feelings. 

Writing can help us understand ourselves better. It can help us move on from difficult experiences. 

The page doesn't judge, so expressing ourselves in this way is safe. The paper isn't going to misunderstand us. It isn't going to get angry or lash back. It's simply going to soak up the words until we're done with them and feel ready to move on. 

So if you're feeling low right now, if you're struggling with something, why not pull out a sheet of paper or open that clean word processing document and give it a try?

Then shoot me a message and let me know how it goes.

No judgment here. :)

Be Brilliant!

~Katie~

Five Ways to Hook Your Readers

They say you have three to five pages to grasp a reader's interest. 

But in our fast-paced, information-driven, limited-attention-span world, I'd argue that's being generous. 

You might have one page. 

You might only have a paragraph or two.

This is why first pages are so important. It's where you cast your line, hook the reader, and reel them in. 

Photo by Domie Sharpin

Pulling a reader into your story from the very first page is easier said than done, but a strong story hook should be enough to grab their attention and keep them engaged.

So how do we write a strong story hook?

1. Start with action. Begin with something exciting, or with a character in the midst of conflict. Give your readers a taste of the suspense and excitement to come from the very first sentences.

2. Introduce your characters quickly. Give your readers just enough information about your protagonists and/or antagonists to pique their interest.

3. Use vivid imagery. Set the scene with descriptive language, transporting your readers into the story world right from the start.

4. Set the stakes high. Make it clear from the outset what's at stake for your character and why the reader should care about the journey that's about to unfold.

5. Don't give too much away. Your hook should tantalize readers and make them want to know more, but resolve your story question(s) slowly. This is what keeps those pages turning.

Bottom line: A hook should appear almost immediately within your story. To encourage your readers to continue reading, keep it interesting, unique, and specific to your story. 

Be Brilliant!

~Katie~

When You're Burning Out

Writer burnout is a very real thing, and I feel fairly confident in saying that it affects every writer at one point or another. 

"Burnout" is the physical, mental, and emotional exhaustion that leads to a decrease in productivity. Writer burnout happens when a writer finds themselves not feeling any sort of passion for their work. 

Photo by Sebastian Sørensen

Now, I love a good slow-burn romance, but a slow burnout? Not so much. A slow burnout looks a lot like sitting down and not getting any work done, or struggling to get words onto the page, or avoiding sitting down to work at all, and it will seriously affect our productivity if it's not addressed. 

Early signs of writer burnout include a lack of motivation to get to work or a lack of excitement about our current project. It looks a lot like a lack of energy that can leave us feeling depressed or irritable. We may even dread going to the page because we know the writing isn't going "well."  

But if we can learn to recognize burnout at the onset, we may be able to rest and recharge before it gets too severe. 

(We need your stories, so please don't throw in the towel just yet.)

The best way to figure out how to recharge your writing batteries is to take a step back from your work. Try to focus on something else for a few minutes, a few hours, or even a few days. It can be as simple as doing the dishes or straightening up your desk. You can try meditating or taking long walks outside. Personally, I use movies to recharge. (Hello, Netflix!)

If you feel like you're in a rut and still want to write (especially if you're on a deadline), try going somewhere that's not your usual writing environment. Instead of writing in bed, head to a local coffee shop. Instead of writing in the morning, write at night. 

If you're not on a deadline, change up your format or genre. Instead of writing romance, try a mystery. If you were working on a novel, turn your attention to a short story or a poem. If you write on a laptop, pull out a pen. 

It's a truth that bears repeating: writing is not always fun. There are good writing days and not-so-good writing days. 

On those not-so-good days, focus on the long game, the end game, and try to remember your "why." 

Think about the readers you want to connect with. Think about the characters you want them to relate to or the storyline that you'll use to pull them away from reality for a few hours. Think about all the ways you'd like to inspire them and the message you want to impart.

Most importantly, keep in mind that for everything there is a season.

There is a season for writing, and there is a season for resting, and taking periods to rest is just as beneficial to your writing practice as "sitting down to write every day."

In fact, it's one of the best ways to...

Be Brilliant!

~Katie~

White Room Syndrome

White Room Syndrome.

I'll be honest: this is a relatively new writing term to enter my vocabulary, though when I Googled this idea blog posts came up from more than a decade ago. (Go figure.)

It makes perfect sense, though.

When a scene doesn't include enough description to paint a clear picture in the reader's mind, it's as if the character is standing in a white room--they could be anywhere (floating in space, for all we know). 

With White Room Syndrome there's some action occurring, but the text is mostly dialogue, with zero sense of place.

When we're writing, we have to remember that the reader doesn't know what we know. We might have a clear mental image of our story backdrop, but our reader doesn't. Not until we impart the details. 

So how can we avoid White Room Syndrome? 

Think about where the story is taking place. Think about the time period. Think about the mood you're trying to establish within the reader. 

Then, consider pulling the character out of the setting and freewriting a page of nothing but the physical details of the location. Once this is complete, try to merge the action into the setting, thinking about what your character is seeing and hearing as they act and react. 

When writing, try to use all of your senses. Describe what someone might see, smell, taste, hear, and feel in the scene.

For example, what does the sky smell like on a hot summer day? What does it sound like when you're walking through a forest in the early morning? What does it feel like when you're holding hands with someone you love?

(Here's more on description, and here's a strategy I like to use.)

One caveat: don't overdo it. The reader doesn't need to know every single detail, just what's important to the story. It only takes a few key facts to establish a sense of place and ground the reader. 

White Room Syndrome is something you will likely address in a later draft. When the words are flowing (the dialogue always arrives the quickest for me) just focus on getting them onto the page. You can come back later to flesh out your scenes and descriptions.  

But to avoid "White Room Syndrome," the reader needs to be able to visualize the setting. They need to have that sense of what it might feel like if they were there.

It's the fastest way to a lasting impression. 

Be Brilliant!

~Katie~

It's Here! First Love, with that little something extra...

It's Happy Release Day, and I'm so thrilled that my little rom-com was selected to appear in this anthology with a fantastic group of writers.

As one of the writers featured I was able to get an early copy, and I LOVE the variety and creativity between these pages, you guys. We were all working with the same concept (First Love) and took it in so many different directions. 

Here are my personal reviews of each story (minus my own) featured in this year's anthology: 

 

“The Art of Making Doughnuts” by Linda Budzinski

“A sweet surprise of a story. First love, with that little something extra.”

“My Heart Approves” by Melissa Maygrove

“Maygrove sweeps readers into the time and place from the very first line. A lovely historical promenade of two characters easing into a love not even a lie can’t temper.”

“My First Love(s)” by Templeton Moss

“A ‘he-said’ then ‘she-said’ tale of all the loves one man can (sort-of) recollect and the woman who sets him straight. Moss nails the characters’ voices and pacing. I am 100% sure this story is worth the read.”

“The Real Thing” by Sammi Spizziri

“It’s not the first love Lola anticipated, but a rideshare to the airport turns into a meet-cute worthy of the most classic of rom-coms.”

“Paper Faces” by Sylvia New

“A swoon-worthy historical account of a journalist who refuses to sacrifice her scruples and the man who adores her for it. The romantic tension between the main characters keeps these pages turning.” 

“Oliver’s Girl” by Michael Di Gesu

“An old man’s sweet imparting of love at first sight, and the namesake who believes in second chances at first love.” 

“Clyde and Coalesce” by Kim Elliot

“Sparks fly when a musician and teacher keep running into each other—sometimes literally. The romantic chemistry between them seeps off pages that seem to want to turn themselves.”

“Marmalade Sunset” by Denise Covey

“The vivid imagery and captivating descriptions of Greece pull readers straight into Cora and her grandson’s journey to reunite with her first love.”

“The Castle of Ohno” by S.E. White

“A grateful Hippolyta disarms the reclusive Konrad as two lonely outcasts work their way towards love in a gothic castle worthy of the most exceptional fairy tales.”

So if you're looking for a nice collection of sweet love stories....

Be Brilliant!

~Katie~

The First Chapter

The first chapter sets the stage for the rest of your novel. 

It introduces the key character and at least hints at the conflict to come, but it also lets readers know what genre they're working with (pay attention to those conventions and reader expectations!) and sets the tone.

It presents the character's world just before everything goes wrong.

The first chapter also includes the story hook.

A story hook is what captures the reader's attention. It's also where the writer makes a promise to the reader.  

What will happen next?

This is what drives readers to turn the page.

This is why the first few pages of your manuscript are some of the most important. 

Whether you're a pantser or a plotter or fall somewhere in between, it's nearly impossible to write a first chapter that's going to accomplish everything you need it to before the story is written.

My advice?

Skip the first chapter (or else write a "placeholder" chapter or jot down a few key notes or descriptions) then move on to the rest of the story. 

Photo by Andrea Piacquadio

Since beginnings and endings often mirror one another (with the end highlighting how the character has changed), it's easier to think critically about the first pages after the story has unfolded. 

Why? Because...

• You know how the character will evolve, so you can set up a nice opposition. 
• You'll be in a better place to (subtly) present the theme. 
• You'll be in a better position to hook the reader based on what's to come. 

Writing is magical, and we can plot all we want, but our characters are likely to steer us in new and unexpected directions, affecting our story in all kinds of ways.

So don't worry about Chapter One just yet. You don't know where the story is going.

Jump into the action, write to the end, then come back to it later. 

And always...

Be Brilliant!

~Katie~ 

Three Tips for More Effective Dialogue Tags

How many times have you lost yourself in a passage of dialogue in a book, then had to stop and go back a few lines because suddenly you had no idea who was talking?

Without proper dialogue tags, it can be easy to lose track of who is speaking, especially if three or more characters are in conversation.

To help, here are my three best tips for incorporating dialogue tags into your scenes. 

1) Keep them simple.

He said. She said. Margaret said. Tom said.

That's all you need. 

Beginning writers who want to spruce up their writing sometimes err in amplifying their dialogue tags. Suddenly Margaret is chortling or arguing or remarking or coaxing and Tom is commanding or imploring or quipping or jeering.

Are any of these descriptors "bad" in and of themselves? No. They are actually effective at painting a more specific image in the reader's mind.

The problem lies in turning every tag into one of these. Do this, and you're going to wear your reader out. Save these tags for special occasions, and limit them to a few per chapter.

This also applies to adding adverb qualifiers to your tags. 

She said hastily. He said menacingly. Margaret implored questioningly. Tom admonished very hatefully. 

Bottom line: Don't overdo your tags.

2) Vary their location.

"I'm hot," Margaret said.

"Go sit in front of the fan," Tom said.

"I tried that already," Margaret said.

"Well, I don't know what to tell you then. We're all hot," Tom said.  

When you use a dialogue tag in the same place in every sentence, the conversation begins to sound repetitious, and readers notice the pattern. Writers use "said" as the key tag because it tends to disappear on the page, but the ones used in the above example call attention to themselves so that we're focused on who is saying rather than what they're saying. 

3. Use descriptions as tags.

If you play your phrasing right, you'll reduce the number of dialogue tags you actually need. Telling us what your character is doing is a great way to signal who's speaking.

Here's an example from All I Never Needed. 

Three people are in conversation: Mac, River, and Harley, and there's a mix of "said" and other variations, descriptions as tags, and locations of the tags.

But before she could even answer there was Mac, striding toward us. 

“Hey, Harley, some of us are about to head to my place. My parents are gone for the weekend and my sister is at a concert in Hamilton with some friends. You should totally come with.”

“Oh. Thanks, but my dad is expecting me home by eleven, so. . . .” She trailed off, allowing him to make the appropriate connections.

“You don’t have to stay the whole time. Just a quick drop-in,” he said. “I can give you directions. It’s not far from here.”

Harley scratched an itch on her ankle. “Thanks, but I really do have to get home soon.”

He smiled his million-dollar smile—his “I’m not taking ‘no’ for an answer” smile, an “I always get what I want” smile. Harley picked up on this, too, and the spell of the alcohol snapped—the transition from relaxed to “on full alert” almost immediate.

“Come on. We have the whole basement set up. Pool table, ping pong, darts, a full bar. It’ll blow your mind.”

I forced my eyes not to roll. “Jesus,” I muttered. “She’s saying no, Mac.”

“No way. We’re having a blast,” he said. “And it’s not even eleven.”

“That’s not the point,” I said.

He turned to me. “What, are you her mouthpiece or something? You speak for her now?”

“I speak for her when you’re too obtuse to recognize that she’s politely refused you twice already.” 

He laughed. “Oh, I’m sorry, River. I didn’t realize you’d already laid claim.”

Something burned beneath my skin, my face growing hotter as I climbed off the picnic table and stood to look him in the eye. “Again, not the point, MacKenzie.”

“Look, I get it. If you two are going on just say so. Otherwise, back the *&#$ off.” 

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So there you are: three ways to fix your dialogue tags. This isn't something I recommend worrying too much about during the drafting stage--it's important to get the words on the paper as quickly as possible--but during an early editing round. 

If you're like me and tend toward distraction when you're editing, use the "find" feature to highlight the word "said." This may help you stay focused on the conversation, what tags are being used, where tags are being used, and if there's enough activity taking place between the snippets of dialogue.

As always:

Be Brilliant!

~Katie~ 

Creating Unique Characters

When it comes to character, the goal is to create someone who is going to capture the reader's attention.

If you're writing a novel, you'll likely have several key players, and they will all need to sound different from the next. Otherwise, you're at risk of confusing the reader.

When brainstorming your character list, think about the key characteristics of each one. What is their gender? What is their age? Where are they from? How educated are they? What is their general attitude toward the world? What's their attitude toward the other characters?

All of these are going to affect them profoundly.

Photo by Ron Lach

Character One is a woman in her fifties. She is a literature instructor at the local university, and her husband has just left her for a younger woman. Both of her children are out of the house. An elderly neighbor drops by Saturday mornings with items from her garden or newspaper clippings of interest, and the woman can't decide if this annoys her or if she appreciates the companionship. 

Photo by Khairul Leon

Character Two is a male in his early twenties. He dropped out of high school to move to the beach. He loves his job at the local dive bar and that he has time to surf during the day. He's never met a stranger.

Think about how differently these two are going to interact with the world and the people in it. 

These differences need to come across on the page: in their dialogue, in their reactions, in everything they notice. 

Why? Because the more specific and varied your cast of characters, the more real they will seem. The more real they seem, the more memorable your story will be for the reader.

Be Brilliant!

~Katie~

On Flaws and Wounds

A quick way to add depth to your story is to give your character a "flaw."

A more compelling way to define this, I think, is a "wound."

Because it's not really enough for a character to have this negative trait--there needs to be a reason for it. A good reason creates empathy, which is why we sometimes find ourselves relating to and understanding the villain of a story. 

So if your character's "flaw" is that he has trust issues and closes himself off from relationships, the reason why is the wound from which this trait stems.

Maybe his girlfriend cheated on him. Or his fiancee left him at the altar. Or his wife packed her bags and walked out one day in search of a new life. 

That event wounded him in some serious way, he hasn't dealt with it properly, and now a big part of his personality hinges on the idea that he's not going to open himself up to anyone for any reason whatsoever. 

He's going to do whatever it takes to protect himself from being hurt again. 

Enter a cute, spunky heroine and now we have a problem. 

As your two characters circle one another, that flaw/wound is going to rear its ugly head at the most inopportune times. 

But this is also going to open a pathway for growth and change. If, by the end of your story, the hero can move past his wound and open up his heart to love, he not only gets the girl, but your reader gets a satisfying resolution to his character arc. 

This kind of internal arc is the foundation of all great romance novels, but even if you don't write in the genre, give your character a flaw that stems from a serious past wound, have them deal with it while they're dealing with whatever other obstacles you're throwing their way, and you have a nice recipe for a page-turning read.

Be Brilliant!

~Katie~

Plot Twist!

A plot twist is "a literary technique that introduces a radical change in the direction or expected outcome of the plot in a work of fiction." 

(Thanks, Wikipedia!) 

A plot twist disrupts a story, sending the readers in an entirely new direction.

Perhaps they thought they had your story figured out--the mystery solved--but some surprising new information has just been revealed and now the reader must reconsider everything they thought they knew about what is taking (or has taken) place.  

M. Night Shyamalan has provided pop culture with some pretty epic twists. 

I see dead people and guess what? You're one of them.

Also--

We are living in this 17th-century village, but now I must go on this quest and surprise! It's actually the 21st century. I do not have to churn butter. I could get in my car and drive to the grocery store if I had access to either.

A plot twist is one of the best ways to surprise your readers, so when you're plotting, look for ways to go against their expectations. 

Once you have a twist in mind, make sure it's appropriately set up. A small amount of foreshadowing can go a long way in making a twist believable.

And finally, don't fall into the trap of thinking a plot twist must be this massive event or transformative revelation.

The most believable twists are the ones that are significant to our main character or storyline. They should operate as a natural progression of the story we're telling, and the reader should walk away thinking there was no other way for this plot to unfold.

When a reader opens the cover of your novel, they want to be taken for a ride. 

Make it a memorable one.

Be Brilliant!

~Katie~

On Rejection

Rejection is the universe's way of saying there's something better out there for us--that we're worth more than whatever this thing we are pursuing has to offer right now.

For writers, a rejection could mean there's a better publishing house, a better agent, a better journal, or even a better path than the one we're currently working toward.

Maybe we didn't place in that anthology contest, but there's a literary magazine we can submit to that will showcase our writing in a more effective way. Maybe we're not right for that agent's current list, but there's an agent we haven't submitted to yet who is going to champion us 100%. Maybe the book hasn't found a home because it's too niche, but we can reach our market more effectively by self-publishing. 

On the other hand....

Sometimes the rejection happens because the writing isn't ready or the story isn't as strong as it could be or the novel is missing that extra something that will make it stand out. Maybe the rejection is telling us that this obstacle will be one that helps us grow--it's going to turn us into better writers and storytellers.  

When it comes to rejection, though, we just need to trust the universe (that LIFE!) is supporting us. 

Photo by Monstera

Soren Kierkegaard said: "Life can only be understood backwards; but it must be lived forwards."

We're not going to fully understand the path that we're on as we experience it, and, when we're in the middle of it all, it's so easy to lose hope. 

But the universe WANTS us to succeed. 

It's working for us and it's working with us. And whether it's for our growth or because something better is headed our way, that rejection is going to be what sends us down the right path: exactly where we're meant to be. 

Be Brilliant!

~Katie~  

Story Circles, Part IV: Gail Carriger's Heroine's Journey

Previously on my Story Circles series, I introduced Maureen Murdock and her theory that character fulfillment isn't just about bringing home the prize, but wholeness. 

Gail Carriger has a similar arc to her interpretation of the heroine's journey, and while I haven't taken one of her courses or read her book (yet!) I know writers who have, and they both come highly recommended. So if you're looking for a deeper dive into this kind of storytelling, the resources are available.

copyright Gail Carriger

So, like many journeys, Carriger's circle begins with The Descent. 

In Act I, we have a main character with a broken familial network. Her pleas are ignored, she gives up power, and withdraws from her community. Her family tries to help but to no avail. She doesn't have a choice in this. She is broken in some way and is desperate to reconnect (with something).

At this point, she steps into Isolation and Danger within The Search. 

In Act II, the heroine is now at risk. She is operating in disguise or pretending to be someone or something she isn't. She gathers a surrogate family around her and takes a visit to the "underworld," which looks more like a deep low point or depression.

One of the key differences between the hero's journey and the heroine's journey is that the heroine is building her network (rather than losing it) and is more likely to compromise to get where she needs to be, while the hero is isolating himself in order to succeed on his own. 

When the heroine asks for help, she's going to get it, and she's going to get it from a group of sidekicks who will remain faithful to her.

The compromise begins The Ascent, and in Act III she's built a new network, found a new family, and/or reconnected with her old family. She has reached her goal and is whole/complete. As an aside, her success in reaching her goal is typically beneficial to others in some way (i.e. she is not the only one who walks away a winner in this journey). 

So again we have this wholeness or completeness at play. This certainly pushes past the hero's journey, which ends after the successful completion of the quest.

Interestingly enough, many YA novels are heroine's journeys, and, if you write romance (which is ultimately about connection), your characters are definitely on a heroine's journey arc.

Like I mentioned previously, don't think you're limited in your gender construction with these arcs. A heroine in a story can go on a hero's journey and vice versa. 

So if something is going wrong in your YA or romance novel (or whatever story you're writing that's not on a hero's journey spectrum), try breaking the plot down to its skeleton and plugging in the key points onto this circle to see if you missed a step or pulled a character in a direction they aren't logically meant to go.

(Because these arcs are so psychologically ingrained that readers *will* pick up on deviations, whether they're aware of it or not.)

Be Brilliant!

~Katie~

Why You Need An Inspiration Board

If you've followed me for a while, you know how I feel about Scrivener as a writing tool. 

(If you haven't and don't know how I feel about it: I love it. There is no comparison. It's like it was made for my ADHD brain. If you're in the market for a new word processing program and ask my advice, I will proselytize--Scrivener--and thank you for coming to my Ted Talk.)

So one of the things I love most about Scrivener is that I can keep everything related to a project I'm working on in a single file. I have my chapter sections organized in Draft, sure, but Research is where I have the most fun. 

This is where I keep my brainstorming pages, links to any web pages I might need, my project Bible, and my...

INSPIRATION PAGE.

What's an inspiration page, you ask?

An inspiration page (also inspiration "board" or "folder" or "box," depending on the method of collection) is exactly what it sounds like: a page where I keep the items that inspire me most as they relate to the particular project on which I'm working.

What's on my inspiration page?

-Pictures of my main characters.

-Pictures of their houses or the key places they go (if they're described in the book). 

-Pictures of important articles of clothing--like a prom dress--or a hairstyle or piece of jewelry that plays a prominent role.

-Seasonal images (spring, Christmas, etc.) for world-building purposes.

-Links to songs that I associate with certain scenes.

I do have playlists for most of my books, but the inspiration page tells me exactly where the song fits into the book because I often put the song on a loop when I'm working on that particular scene. For instance, the Library Gala in The Guardian when Seth appears and dances with Genesis is linked to "So Close" by Jon McLaughlin.

 

Photo by cottonbro from Pexels

Here, we have an inspiration "wall." ;)

The inspiration pages vary from project to project, but what they help with most is grounding me in my story and the world in which it takes place. I keep pictures of my characters so I don't have to remember if I've written them with blue eyes or green. If I can't remember if the guy's hair is brown or black, it's easy to click over to my inspiration page to look at the image I've based him on. 

As an example: Luke Castellani (Revelation) was my young Gerard Butler. ;)

Thank you, Inspiration Page! 

Every now and again I'll toss in a YouTube link to a movie scene or trailer that elicits some kind of emotional response--anything that triggers the mood I need to capture for a certain scene.

The Bridgerton trailers are great at triggering, FYI, but I also love the scene from My Best Friend's Wedding when Jules confesses she's in love with Michael, and when Miles shows up for Arthur's big night, plops down beside Iris, and tells her she looks beautiful in The Holiday.  

I can't always trust myself to remember the color of my character's hair or the dress she wore or the song to which the love interest confesses his adoration, but if I upload an image or paste a link on my Inspiration Page in my project file, the information is always at my fingertips.

But Katie, you've just described Pinterest! Novel boards! Links! Images!

My dear Reader, do you even know what would happen to my ADHD-addled brain if I left my story to access a Pinterest board?

Nothing.

As in NOTHING would get accomplished for the rest of the day.

(My Pinterest board, however, would look lovely.)

Ergo, the Inspiration Page is built in Scrivener, and it stays in Scrivener.

Why an Inspiration Page? 

Because I believe if we sit down and get to work expecting the Muse will show up, she will. I also believe we can hurry her along--get her moving a little faster--if we can tap into the mood of our story, and that becomes possible once we've collected audio and visual material representative of what we're trying to create.

Be Brilliant!

~Katie~

Where Do Writers Get Their Inspiration From?

The Insecure Writer's Support Group Romance Anthology Authors are talking Inspiration over at the blog this week! 

Find out where we get our ideas from. 💖 

"I’m not entirely sure, but I’ve come to believe that writers co-create with the universe—that it offers us bits and pieces of information/inspiration because it wants us to do something with them. It’s happened when listening to music, while watching movies, when a character’s name fell right into my lap…. It’s never just 'thinking' about something; it always feels like more, somehow. So I take these bits and pieces and ruminate on them, adding and subtracting in the best interest of the story, and draw on whatever additional insights the universe is willing to toss my way with gratitude as I work toward 'The End.'" 

-- Katie Klein, "How to Save a Princess"