Author: Elizabeth Spann Craig

When it comes to writing, we all tackle things different ways.  We outline or don’t outline.  We focus mainly on plot or mainly on character.  We revise as we go or wait till we’re done.  We watch our word count closely or worry about it later.

Our process is different, but we all end up with the same result—a finished manuscript.  But how long did we spend on each part of it?  What took us the longest during the process?

So I’m curious—out of the list below, what takes you the longest? Or is there something else that takes longer?  What’s the easiest for you?

Coming up with the original idea
Brainstorming the original idea
Researching
Outlining (if you do it)
Organizing the story
Creating individual characters
Character development
The beginning of the book
The ending of the book
Developing the conflicts…internal and external
Revising the first draft
Revising subsequent drafts

For me, character development takes the longest. I think that’s because I change so much of it through the revision process—a character will start out one way, and end up being completely different by the end of the book.  So I have to go back and do quality control.  :)  Also, I have a pretty difficult time with book endings.

The easiest thing for me is coming up with the original idea, followed closely by organizing the book (mine tend to follow a particular format.)

Your turn!

I’m running this same survey today over at Inkspot (the blog for Midnight Ink writers), if you’re interested in seeing their take on it. Also, if y’all could continue giving me feedback on this commenting widget. Is it remembering you? Is it hard on Blogger folks? Is it a royal pain or not too bad?  I like the threaded comments, but I don’t want any hassle. :)

My mother is, right now, my only first reader.  I think only a mom will put up with being asked to drop everything and read a book from start to finish because the writer is right up on top of a deadline.

Mama just finished reading my second Memphis book which I emailed to my agent Friday afternoon. Her technique is to print the manuscript out, read it, and put sticky flags on pages where she has questions or corrections.  Then she calls me on the phone and goes through the corrections page by page.
She called me twice this time—once for the corrections for the first half of the book and once for the second half’s corrections.

During both phone calls she had at least one time where she said, “I didn’t understand what you were trying to say here. Were you trying to say…?” then she’d trail off.

Both times I read the paragraph.  And read it again.  “I meant…Well, I meant…” I’d pause and read it again.  “Okay, I don’t know what I meant.”

I ended up ditching both paragraphs and rewriting them.  Because, if I can’t even explain them, that’s not a good sign.


Usually these paragraphs are really awkward. Frequently this is because:

*It’s got a passive voice construction and is a big was/had past participle mess. 
*It’s hard to tell who is talking.
*It’s hard to tell to whom they’re talking.
*The sentences are too long.

Usually I just chuck the whole thing and start over. But if there were a lot of paragraphs, that would get old, fast.  Other ways to address it are to:

*Make it active.
*Include dialogue tags (keeping it simple…said or asked is fine)
*Divide long sentences into shorter ones.
*Consider a different way to deliver the info in the paragraph—like including it in dialogue, instead.

Catching these awkward constructions?  If you’re doing the revision process solo, reading aloud would be the best solution (clearly I didn’t take my own advice and do that!)  Otherwise…it is something that a first reader would probably catch.

Thanks, Mama!

I’ve had a few people ask me to run more writing links here—and for some reason I keep forgetting!  I post probably 25 or more writing links a day on Twitter, but that doesn’t help if you’re not a member.
So, here are some links from the last few days.  :)  Good thing I’m a skimmer!
The one-line book pitch: http://bit.ly/cmGvos 5:45 AM Mar 24th via web
Give your characters cabin fever and change your setting: http://bit.ly/9MS163
How novelists are entrepreneurs: http://bit.ly/d61aPc 5:44 AM Mar 24th via web
Gaining authenticity in our writing: http://bit.ly/awTa0e 5:43 AM Mar 24th via web
7 things one YA writer has learned so far: http://bit.ly/c9yq6o 5:07 PM Mar 23rd via web
Memorizing poetry: http://bit.ly/apxE3X 5:07 PM Mar 23rd via web
Overusing protagonist names: http://bit.ly/a7GZQg 5:06 PM Mar 23rd via web
An agent on spammy query letter subject lines: http://bit.ly/cVPjzV @NathanBransford
Why YA romance needs to change: http://bit.ly/bxzFY3 @inwhichagirl 5:02 PM Mar 23rd via
The 5 protagonists you meet in YA: http://www.yahighway.com/ @yaHighway
A few thoughts on 1st person: http://bit.ly/9KJTHv 1:29 PM Mar 23rd via web
Required–the crappy first draft: http://bit.ly/bjlu2c @merylkevans 1:28 PM Mar 23rd via web
Cleaning up our manuscripts: http://bit.ly/cBKkD2 @katmagendie 1:25 PM Mar 23rd via web
Using irony in your novel: http://bit.ly/dD8lLA 1:23 PM Mar 23rd via web
A tool to help you track your queries: http://bit.ly/cix926 1:22 PM Mar 23rd via web
One writer’s thoughts on fitting in backstory: http://bit.ly/9e0Omv 9:47 AM Mar 23rd via web
SF cover art: http://bit.ly/bwY9uE 9:44 AM Mar 23rd via web
Being fearless with our writing: http://bit.ly/97KVh7 9:43 AM Mar 23rd via web
Does your novel pass the p. 69 test? http://bit.ly/9RFB1O 9:42 AM Mar 23rd via web
How to find your agent (researching): http://bit.ly/bPZK8u 9:41 AM Mar 23rd via web
Writing characters from the inside out: http://bit.ly/bKVl3x 9:39 AM Mar 23rd via web
Mixing past and present tense: http://bit.ly/biRlX6 9:38 AM Mar 23rd via web
World-building–the foundation: http://bit.ly/aEZfzt 6:01 AM Mar 23rd via web
Writer as career vs writer as identity: http://bit.ly/a9S5Jz @JustineLavaworm 5:54 AM Mar 23rd
Learning from a first rejection letter: http://bit.ly/a7pvre @suvudu 5:53 AM Mar 23rd via web
Writing a make-out scene: http://bit.ly/aR2aYy 5:50 AM Mar 23rd via web
What makes a novel crumble? http://bit.ly/aNY3NL 5:50 AM Mar 23rd via web
Fiction without borders–blurring the line between genres: http://bit.ly/9YXS4N
Un-American thrillers–why are Scandinavians dominating the field? http://bit.ly/dbWIWZ
2009 bestsellers lost ground to the long tail of online retailing (PW) http://bit.ly/c8VKEW
Cappuccinos in your local library? It’s all just froth (Telegraph, UK) : http://bit.ly/8ZDDp2
Picture books as vitamins for infants born into a digital age: http://bit.ly/cabhMS
Forming your critique group (getting members, location, format): http://bit.ly/aLW80W
Each character has a story: http://bit.ly/9h67I1 @bookviewcafe 5:36 AM Mar 23rd via web
Ted Hughes joins lit greats at Poets’ Corner, Westminster Abbey (Guardian, UK) : http://bit.ly/c4cJSX 5:35 AM Mar 23rd via web
Borders stores want you and your book club: http://bit.ly/b8ixrl @hopeclark 5:34 AM Mar 23rd
The importance of putting your contact info on your blog, etc: http://bit.ly/cJmxjV
The Gr8 deb8: http://bit.ly/bGbHTA 5:32 AM Mar 23rd via web
Zombies are not the new vampires: http://bit.ly/9aBYqY @johnottinger 1:23 PM Mar 22nd via
“Oh, it’s only an e-book…” : http://bit.ly/b4fO30 1:22 PM Mar 22nd via web
for a great story: http://bit.ly/bm5JDS @dlschubert 1:22 PM Mar 22nd via web
Pride and sensibility–Austen’s literary ambitions (NPR) : http://bit.ly/bL3kmF
Effective dialogue in novels: http://bit.ly/cvhftu 1:20 PM Mar 22nd via web
Agent research: http://bit.ly/bM2Wxv 1:20 PM Mar 22nd via web
Tech news for nerds–living in the future with smart phones and e-readers: http://bit.ly/c4tam3
The mirror technique for describing characters: http://bit.ly/9biIbL 1:18 PM Mar 22nd via web
Is true translation of poetry impossible? http://bit.ly/b7XPAh 1:18 PM Mar 22nd via web
How to play nice at writers’ conferences: http://bit.ly/cL6Rba 1:17 PM Mar 22nd via web
One writer’s method for creating an outline: http://bit.ly/c9TMcM 1:16 PM Mar 22nd via web
10 quick tips for concise and compelling writing: http://bit.ly/brWsgj 1:15 PM Mar 22nd via web
Squinting modifiers: http://bit.ly/akBeEN 1:15 PM Mar 22nd via web
Another take on getting more blog comments (not recommended!): http://bit.ly/b1wbeq
Bio on poet Ted Hughes who had relationships w/ 2 women who killed themselves (Sylvia Plath and Wevill) Guardian, UK : http://bit.ly/aefZJs 10:12 AM Mar 22nd via web
A blog tip to get you more comments: http://bit.ly/dh3Jnw @alexisgrant 9:57 AM Mar 22nd via The class structure of British lit–who’s at the bottom? At the top?: http://bit.ly/cGPUVL
Back to the basics of novel pitching: http://bit.ly/dzLKsl 9:54 AM Mar 22nd via web
Don’t let readers hang up on your story: http://bit.ly/atyrKU 9:53 AM Mar 22nd via web
The vorpal copy editor: http://bit.ly/csELuX 9:53 AM Mar 22nd via web
The power in a character name: http://bit.ly/9ey6Pg 9:52 AM Mar 22nd via web
Prioritizing blogging and blog visiting: http://bit.ly/dcLucV 9:52 AM Mar 22nd via web
Why Austen would never win a Booker (Independent, UK) : http://bit.ly/cReBz7
5 tips for becoming an early riser (and maybe getting some writing done?) : http://bit.ly/9WcLjb
5 things to avoid in query letters: http://bit.ly/9JW22s 7:34 AM Mar 22nd via web
Free online marketing help for the technophobic author: http://bit.ly/bqcJgd 7:34 AM Mar 22nd
Reading writing tips–is a little knowledge a dangerous thing? http://is.gd/aSuqV
Story design–the right narrator for your book: http://short.to/1q7xs 5:45 AM Mar 22nd via web
Getting real–does your voice have credibility? http://short.to/1qa9t 5:44 AM Mar 22nd via web
An agent says that perseverance is key: http://short.to/1qh54 5:44 AM Mar 22nd via
The bargain book business by the numbers: http://bit.ly/bVYNzc 5:22 AM Mar 22nd
Don’t settle for being published badly: http://bit.ly/9aoWNK 5:22 AM Mar 22nd
Best tweets for writers (wk ending 3-19)–Writer’s Digest: http://bit.ly/bd4JW0 How one YA writer landed 2 multi-book deals: http://bit.ly/a469IW 5:39 PM Mar 21st
No time to read? One man’s experiment to break free from TV: http://bit.ly/aIvSYi
Cover letters and why you need an elevator pitch: http://bit.ly/aA3TSc 5:38 PM Mar 21st
Demystifying lit agents: http://bit.ly/bUD3sY 11:16 AM Mar 21st
Anatomy of a multi-author blog: http://bit.ly/a6bAbN 11:16 AM Mar 21st
Something to dream about: upcoming lit festivals and workshops in Paris: http://bit.ly/dBpqCG What the Dickens–why genius is only human: http://bit.ly/anrzPR 11:14 AM Mar 21st
Characters and Margaret Mitchell: http://bit.ly/a57BgL 11:14 AM Mar 21st
Reviews on banned books–via @micheleemrath: http://bit.ly/akexlU 8:42 AM Mar 21st
Texts without context (NY Times): http://nyti.ms/dwYflp 8:10 AM Mar 21st
Revisiting ‘7 Habits of Highly Effective People’: http://bit.ly/9n97qu 8:08 AM Mar 21st
Chris Brogan on not being able to keep up (social media): http://bit.ly/dysRvs 8:06 AM Mar 21st
Kids’ reading and the question of age-appropriate: http://bit.ly/b3pguD 8:05 AM Mar 21st
An agent gives tips for growing as a writer: http://bit.ly/aBXbmg 8:01 AM Mar 21st
5 big ways to add time to your days: http://bit.ly/aIxqn2 5:51 PM Mar 20th
Querying blunders (more agents share): http://bit.ly/aOgPGc @OPWFT 9:26 AM Mar 20th
How 8 Writers Do It: Deepening Your Characters http://bit.ly/dnfN8G

Famous writers and their day jobs: http://bit.ly/dxKbet 8:35 AM Mar 20th 

On another note, I’m trying to see if I like this new commmenting thingy.  As y’all know, I don’t ever change my blog at all.  :)   Please let me know if the commenting thing is obnoxious or not.  I thought threaded comments might be interesting to do, but I don’t know if this is the widget for me or not. 

What is it about writing that makes us reluctant to admit to doing it?

You’d think I could easily explain that I’m a writer by now. But usually a couple of times a week someone either asks me what I do or something similar. And I choke EVERY time.

Yesterday, it was the mother of a child that my daughter has recently started playing with. We were at the bus stop, waiting for our girls to come home from school.

“Do you have any plans tomorrow?” she asked.

And, yes, I have a book signing at an outdoor festival that’s taking up a good chunk of my Saturday afternoon. But I’ve really only talked to this lady twice and she has no idea that I write.

“I…yes, I think there’s something on the calendar. I haven’t really looked at my day planner,” I said weakly.

Which means, of course, that later I’m left wondering why I avoid talking about my books and writing in face-to-face exchanges. And I’ve also missed an opportunity to sell a book or spread the word about my signing. And, believe me, I can use all the help I can get when it comes to signings! Otherwise I’ll be sitting at the table daydreaming and surreptitiously jotting down notes for the next book because no one is there.

Why I think I usually don’t mention my writing:

It’s not what people are expecting to hear when they ask what I do. And I like filling expectations.

It leads to an avalanche of further questions, which I’m usually uncomfortable answering. “Where do your ideas come from…?” or “I have the best idea for you to write about!”

They have the most startled look on their face when I tell them…they’re not sure what to say.

It sounds like I’m bragging.

Dropping a book signing into conversation sounds contrived, not casual.

Although much of my life involves interaction with other writers, I only know a few writers in my non-virtual life. So, although sometimes I feel like everyone writes because it’s such an important part of my life…actually very few people write. It’s unusual enough to stop a conversation in its tracks. No one has ever just gone right on with the conversation: “Really? That’s great. Hey, do you think the kids would like to see the new movie that’s out?..” Nope! It’s always more like, “Whaaa?? Why didn’t you tell me you’re an author? When did your first book come out? Five years ago?!?”

Sometimes I’m good to mention it. If I’m in a situation, like a party, where I know I’m going to be meeting people for the first time then I’m prepared. I’ll be as chipper as possible and say, “I’m a writer. I write mysteries.” I’ll say this in a practiced, casual way, but it still leads to a series of questions: are you published? Who is your publisher? Can I get your book at the library? At the bookstore? Do you write under your own name? What’s your name again?

This might be a reason why I don’t go to many parties. :) Or, I just completely avoid the question by answering that I’m a stay-at-home mom. Until the party’s hostess comes over and fusses at me, “No, you’re not! You write books!”

If I have my business cards with me, I can handle the situation easier. Otherwise, I’m going to get out of that conversation as fast as I can.

I know there are at least two outgoing people who read this blog and are excellent at marketing (Diane and Marvin, you know I mean you!) Any tips on face to face promotion or at least just mentioning writing?

Today I’d like to welcome author Stephen D. Rogers to the blog. Stephen is the author of SHOT TO DEATH and more than six hundred stories and poems. He’s the head writer at Crime Scene (where viewers solve interactive mysteries) and a popular writing instructor. For more information, you can visit his website, www.stephendrogers.com, where he tries to pull it all together.

People who think nothing of writing a novel but turn white when they’re asked to produce a short story often come to me looking for tips.

That’s understandable. A short story is not a novel in
miniature. A short story is not a chapter of a novel. A short story is not the novel’s poor illegitimate cousin. So what, exactly, is a short story?

A short story is a form as precisely designed as a poem or
an automatic weapon.

The power of a novel comes from a cumulative effect of many disparate ideas. The power of a short story comes from the cumulative effect of those same ideas boiled down to concentrated word choices. While a novelist may devote many chapters to a character’s college experience, the short story writer captures the flavor and result of that experience in a single word, a word that also moves the plot forward … and perhaps acts as a clue.

Writing a novel is a journey of discovery. Even if you have an outline, a stack of index cards, you learn about your character as you write the book. You learn what decisions your characters would make and what actions your character would take and you alter the story accordingly.

Writing a short story, you need to know all that before you begin so that you can layer in those qualities. The key to knowing “all that” (since most people don’t want to write a novel as research for a short story) is to know your characters.

Know their desires. what do your characters want? What do they want over the course of the story? What do they want in each scene? What do they want in every paragraph and sentence?

Know their motivations. Why do your characters have these desires? Why do your characters think they have these desires? How do the subconscious motivations and the alleged motivations play into each other?

Know their weaknesses. What keeps your characters from attaining their desires? What keeps your characters from addressing those weaknesses? How have those weaknesses made your characters what they are at the beginning of the story?

And, finally, know the consequences. What happens if your characters don’t get what they desire? What happens if none of their needs are met? What happens if they don’t learn their subconscious motivations and how to manage their weaknesses?

Knowing all that, writing the short story is fairly
straightforward. :)

**************

SHOT TO DEATH contains thirty-one stories of murder and mayhem.

“Terse tales of cops and robbers, private eyes and bad guys,
with an authentic New England setting.”
– Linda Barnes, Anthony Award winner and author of the Carlotta Carlyle series

“Put yourself in the hands of a master as you travel this
world of the dishonest, dysfunctional, and disappeared.
Rogers is the real deal–real writer, real story teller,
real tour guide to the dark side.”
– Kate Flora, author of the Edgar-nominated FINDING AMY and the Thea Kozak mysteries

“SHOT TO DEATH provides a riveting reminder that the short story form is the foundation of the mystery/thriller genre. There’s something in this assemblage of New England noir to suit every aficionado. Highly recommended!”
– Richard Helms, editor and publisher, The Back Alley Webzine