Twitterific

by Elizabeth S. Craig, @elizabethscraig
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Arming Your Characters with a Strong
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Should You Ever Redeem Your Bad Guys? http://dld.bz/cMRre @KMWeiland

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What 1 Reader Learned About Getting
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Some scripts are perfectly good reads,
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Slay It. http://dld.bz/cMTUn @bluepencil2
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How to Find Great Content to Share on
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“Dudes, stop reading your
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Quick and Dirty Edit Tips: http://dld.bz/cNf4v
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Time Management for Writers: http://dld.bz/cNf5n @Woollz
Writing for the Senses: http://dld.bz/cNnJE @writeangleblog
How To Find Your Target Market: http://dld.bz/cNnJJ @nickthacker
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Why You Should Get Serious About Your
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Unclear Character Goals: http://dld.bz/cNnKP @Ross_B_Lampert
Tips for Authors on Amazon: http://dld.bz/cNnKU @tonyeldridge
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What’s Your Story About? Pitch Perfectly:
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How to Write a Short Story: http://dld.bz/cNnPs @WorkInProwess
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Telling a Story in Our Own Voice (or One That Comes Naturally To Us)

 by Elizabeth S. Craig, @elizabethscraig
Wednesday, I was the only adult in the
line of about 100 junior year high school students in front of the counselor’s
office.   
The students were all there to
have their schedules changed for one reason or another.  My son was next to me, both relieved that I
was there and resigned that I was there. His schedule,
unfortunately, needed four or five changes to it—sometimes computers stick odd
things on schedules.  This computer
had.  I was there to lend an air of
gravitas to the situation and help him get the schedule in order so he’d have
what he needed for these colleges he’s starting to look at (primarily German
III and German IV, since they want four years in a single language).
So here’s the situation.  We’re all sitting in plastic chairs in a
long, long line outside this office, each with a number.  He has friends to the right of him and
friends to the left of him and I’m right in the middle. I have brought my book
with me and am determined not to bother/embarrass him (if I can help it).  Although I could potentially be bothering him
by the fact that I’m quietly writing about murder in my notebook.  Or that I’m there at all.
We wait about four hours.
His friends, nearer the start of the four
hour wait, aren’t exactly sure how to talk around me.  And this is literally around me, since they’re having to lean forward to bypass my
presence.  There is some stilted
conversation.  They pass their phones to
each other to share a video or a funny picture, but they only snort or laugh
and don’t talk about whatever it is they’re looking at.  I keep writing.
Finally the girl next to me asks sweetly,
“Mrs. Craig, are you here to get your schedule changed, too?” Trying out a
different tack to see how I’d respond. My son looks sideways at me.
I nodded. 
“I was supposed to graduate in 1989, but I can’t seem to get enough
credits for graduation.”
This makes them laugh.  And soon, they’re carrying on conversations
that seem a lot more natural. Not as natural as they’d be if I weren’t there at
all, but a whole lot more natural than they were before. This helps me relax
too. It’s very distracting when people are acting stilted around you.  I was actually able to block them all out and
write several pages for my book.
To me, this is half the battle of coming
up with a writer’s voice—not sounding stilted. 
Stilted narrative is distracting and makes it tough for a reader to get
wrapped up in our story.
I knew what I wanted my storytelling
voice to be before I wrote my first book…but it took a while for me to achieve
it. I wanted it to be intimate and friendly. It took some practice and both
hits and misses before I nailed it.  One
tip that I found:  once you’ve written a
passage of your book in the voice you’re shooting for, print that portion out
and keep it near you.  When you feel
you’re sounding stilted again, reread the passage that you wrote. It can help to reorient you.
Here are some posts on voice that I’ve
found helpful in the past:
Can
You Hear Me Now? Developing Your Voice
—by Janice Hardy @janice_hardy
10 Steps to Finding Your Writing
Voice
—by Jeff Goins @jeffgoins
Need Voice? Think
Out Loud
—by Jami Gold @jamigold
3 Vs of
Fiction—Voice
—by Darcy Pattison @fictionnotes
Did your author’s voice come naturally to
you? How did you find it? 
Photo–MorgueFile–mconnors

Outlining a Story

by Elizabeth S. Craig, @elizabethscraig

I’ve been asked a few times lately to write a post about how I outline, since I’ve recently been talking about outlining.

This is something I’ve been reticent to do, since I don’t really think of myself as an outliner.  My outline process does seem to work for me, though, and in the hopes it might help someone else, I’ll share it.  But it’s not pretty.  There are no highlighters or index cards around.  And at times, it seems like the ramblings of a crazy person.

With that caveat, here we go.

Pace–I outline generally as quickly as I can. My goal is to get through the thing, look for places where the story seems weak, fix the outline, then either hand it in or start writing the book.

Format—The outline looks like a story.  If I’ve really thoroughly outlined and gone scene to scene, the outline runs anywhere from ten to twenty-five pages.  It’s in paragraph form. I sometimes include dialogue. There are no numbers on my outlines since I’m a fervent believer that numbers and words should stay segregated (this would explain my grades in Algebra all those years ago.)

Starting out—I write three series, so to keep my head straight, I put a list of all the recurring characters at the top of the page before I start out.  I start out with my victim, as usual, and come up with a quick list of who might want to kill such a person.  With that victim and that list, I start writing the outline.

My outline’s first draft (and only draft, if it’s self-pub. I clean up the outline if I’m handing it into an editor) reads as if a child is telling a friend about a movie they’ve seen.  You know what I mean:  And then this happens! And then that happens! And then…

I go through the whole story scene by scene: body, suspects identified and interviewed, second body, suspects interviewed, alibis checked out, sleuth in danger, murderer revealed.  Sometimes I get carried away and stick in some dialogue as I go…frequently without the use of quotation marks. I’m flying through it, doing a brain dump with the story.  If I need to brainstorm as I go, I do it on a different Word doc.

Then I’ve got a skeleton of a story.  There isn’t setting in there.  But it’s an outline.  I don’t think my editor necessarily wants to see that in my outlines and I sure don’t.  I just need something to get me started.

Then I go back to my opening scene and add some other things in:

I hint at the trouble that’s about to engulf the story.

I like to tie in the beginning of the story with the ending—sometimes with a subplot, sometimes with the opening scene. I think of ways to do this, and then put my first mention at the start of the story.

I do try to have a sort of “Save the Cat” moment at the beginning of the story—some way to make my protagonist sympathetic to the reader.  I tend to write protagonists who are prickly and difficult and this helps to soften them up.

I list my characters on a separate page.  I make a few notes about them…what they’re afraid of, what they really want in life, where they are now.  Then I think of ways that I can possibly give them an arc over the course of the story.  Can I make readers end up relating to a character they originally disliked? Can I give some extra dimension to a character who just seems always cranky, cheerful, remote, whiny?

My editor for the quilting series particularly likes it when I can weave different characters’ stories together—one helping the other to grow or change in some way.  She feels it gives the story a sense of completion in smaller ways…not just the murder investigation being solved.  I do look for ways to do this.

Subplots are vital to my stories and are ways to incorporate humor, diffuse tension, help readers connect with characters, or even help solve the case.  I brainstorm ideas…as many as I can think of and with a variety of different characters…and then see which idea is the strongest.  Especially if it’s an idea that can also help me accomplish other story goals at the same time.  I stick the subplot into the outline.

Strictly for mysteries—I check out my clues, red herrings, alibis.  I make sure the story will be fair to the readers.

I make sure my readers’ favorite recurring characters are in the story.

I look for spots that seem boring.  I look for spots where my protagonist appears to be taking a backseat. I look for spots to put in clues and red herrings for my sleuth to explore.

If the outline is only for my eyes, then I’m done.  If the outline is for an editor, then I try to make it sound more sane.  I put in punctuation, for instance. :)  I tell my editor I’m open to changes.  And I warn her that I may change the story, too.  I frequently do.

As for the character description, chapter breaks, et al…those go in after the first draft is finished.

And…that’s about it.  It’s really a very simple process. A scene by scene outline that basically lays the book on the line takes me almost a week to write and edit.

Then I write the book.

How do you outline?  Is it a process that works for you?

10 Ways Plot Structure Influences Character Arc



by K.M. Weiland (@KMWeiland)

I’m sometimes asked which is more important: plot or character. This is a misleading question, at its foundation. Not only are plot and character equally important, they’re also interdependent upon one another. The term “structure” has become almost synonymous with “plot.” But the truth is this: structure is as much about planning your main character’s arc as it is crafting a solid beginning, middle, and end. In my book Structuring Your Novel: Essential Keys for Writing an Outstanding Story, I talk about the structure of plot, but today, let’s take a peek at the structure of character.

1. Your Character’s Arc in the Hook: The beginning of your story is where you must not only hook readers with an interesting premise and plot development—but also with the protagonist’s fundamental dramatic problem. You will be introducing your character’s personality and “normal world” via a characteristic moment. This normal world and your character’s mindset within it will be defined by the Lie He Believes.
     This Lie will be holding him back from the Thing He Needs (e.g., he may need love and acceptance, but believe he is unworthy of it). This conflict will define the entire course of your character’s arc. You will also be introducing your character’s overall story goal via the Thing He Wants Most—which will either be inhibiting him from gaining the Thing He Needs or will be impossible to gain until he rejects the Lie.


2. Your Character’s Arc in the First Act: The First Act (which encompasses roughly the first quarter of your story) will be all about reinforcing your character’s belief in the Lie. You will also want to indicate that the character has the potential for enough personal growth to eventually overcome that Lie.


3. Your Character’s Arc in the First Major Plot Point: As the First Act comes to an end and your narrative approaches the First Major Plot Point, your character will still be deeply entrenched in the Lie. But he will be in the beginning stages of rebelling against its foundation. His belief in how he serves the Lie will begin to evolve (e.g., he will still believe he is unworthy of love, but he may determine to do something to at least be worthy of respect). Then the First Major Plot Point will hit, changing your character’s normal world forever and giving him just a glimpse of what life might be like without the Lie.

4. Your Character’s Arc in the First Half of the Second Act: This section (which generally spans from the quarter mark to the halfway mark) is all about your character’s reactions to the First Major Plot Point. During this time, you will lay the first stone in the protagonist’s ability to defeat the Lie (often, this will come in the form of another character’s “mentoring”). The character will be getting closer to the Thing He Wants (although he may not realize it), even as he gets farther away from the Thing He Needs.


5. Your Character’s Arc in the Midpoint: The Midpoint will present another dramatic incident, this time forcing your character to abandon his reactions and begin a series of strong actions in an attempt to gain the Thing He Wants Most. The Midpoint will prompt the character to move away from the effects of the Lie, if not yet the Lie itself.


6. Your Character’s Arc in the Second Half of the Second Act: Thanks to the lessons learned in the First Half of the Second Act, the character will now be able to act in ways he wouldn’t have been able to in the First Half. For the first time, he will begin to move away from the effects of the Lie and toward the Thing He Needs, even though that may ultimately mean moving away from the Thing He Wants Most.
     Toward the end of the Second Act, the character will be close to getting the Thing He Wants Most. But he will be conflicted, since claiming the Thing He Wants Most will mean putting himself entirely under the power of the Lie once again. His inner conflict will ramp up as he convinces himself his inner need is not an obstacle to his outer want.


7. Your Character’s Arc in the Third Major Plot Point: The Third Plot Point will once again be an event that changes everything for your character. This time, that event will be a point of crisis within your character’s arc. The Thing He Wants will now be within his reach, but to gain it, he will have to totally sacrifice the Thing He Needs. That’s where the Third Plot Point comes into play: something must happen to force him to realize he can’t surrender the Thing He Needs. At this point, he can no longer hide himself from the horror of the Lie. He must wrench himself into action by rejecting the Thing He Wants Most. In a sense, this action signifies the character’s dying to his old self.


8. Your Character’s Arc in the Third Act: Immediately, after the Third Plot Point, your character will find himself at a low point—either physically, emotionally, or both—as he realizes how much he lost when he rejected the Thing He Wants Most. The character must choose between surrendering to his pain and continuing the fight. This is the moment in which the character will be remade. This is where his new self will begin to rise.
     The character must realize that the price he paid to gain the Thing He Needs was worth the pain. At this point in the story, he will have recognized the Lie, but he will not yet have completely forsaken it. The Third Act is about helping him grow into his new paradigm.
     Throughout the Third Act, your character’s belief in his new paradigm will be under siege. As the Climax approaches (roundabout the 90% mark), this attack will intensify. This attack may come from the main antagonist, a minor antagonist, an ally, or the protagonist himself. The Lie will be flung into the character’s face, and he will totter as his weak point is punched. The greater the character’s peril of relapsing, the higher the tension. He will be off-balance and unhappy as he doubts whether he made the right choices earlier. His doubt is a sign he hasn’t completely overcome the Lie.

9. Your Character’s Arc in the Climax: The Climax begins as the character finally and fully rejects the Lie and acts upon his new Truth. In the climactic moment, he will use this Truth to conclusively destroy the antagonistic force. If appropriate, he may yet gain the Thing He Wants Most as well.


10. Your Character’s Arc in the Resolution: The Resolution will provide an illustration of the character’s new life, free from the Lie.

Once you understand how the structure of both plot and character work together to create a seamless, powerful story, you can use these basic tenets to raise your stories to the next level.

K.M. Weiland is the author of the epic fantasy
Dreamlander, the historical western A Man Called
Outlaw
and the
medieval epic
Behold the Dawn. She enjoys mentoring other
authors through her website
Helping Writers Become Authors, her books Outlining Your
Novel
and Structuring YourNovel, and her
instructional CD
Conquering
Writer’s Block and Summoning Inspiration
. She makes her home in western Nebraska.

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The Alphabet in Crime Fiction: Scissors
and Other Sharp Objects: http://dld.bz/cMxJN
@mkinberg
Using Android’s Contacts to Store
Character Information: http://dld.bz/cMA3X
@clarissadraper

Common Style Issues for Writers: http://dld.bz/cMAKW @DianeKrause2
The 4 Cornerstones of Strong Characters: http://dld.bz/cMRmN @writingeekery
Are you marketing to readers or writers?
A reminder to ‘platform-out’: http://dld.bz/cMRuq
@Porter_Anderson @petermccarthy
The Readers Sound Off! How They Read,
What They Like and Where They Find Us: http://dld.bz/cMpGT
@marieforce
Be Consistent With Your Book and Your
Promo Plan: http://dld.bz/cMpHC
@behlerpublish
George R.R. Martin: The Real Iron Throne
& Boycotting Orson Scott Card: http://dld.bz/cMpHJ
@woodwardkaren
How to Evaluate Your Chapter Summaries
Prior to Writing Your Book: http://dld.bz/cMpHR
@ninaamir
Crime fiction–when detectives must
travel to solve a case: http://dld.bz/cMAuC
@mkinberg
Light a Fire Under Your Characters: http://dld.bz/cMpHT @noveleditor
4 Keys to Finding Time For Your Creative
Work: http://dld.bz/cMpHW @susankayequinn
The Most Important Kind of Edit a Book
Needs: http://dld.bz/cMpJc @jodyhedlund
Crafting the Nonfiction Book Cover: http://dld.bz/cMpTG @DebraEve @SusanShankin
How to Sell Ebooks: 5 Proven Tips: http://dld.bz/cMpUh @robeagar @DigiBookWorld
3 of Michael Connelly’s Favorite Bits of
Writing Advice: http://dld.bz/cMpU4
@writersdigest
Why 1 writer lawyered up against fan fic:
http://dld.bz/cMpUA @tobywneal
@PassiveVoiceBlg
Amazon Patents ‘DVD Extras’ for E-Books: http://dld.bz/cMpVN @strngwys
The Business of Screenwriting: Writing
Credits: http://dld.bz/cMpYj @gointothestory
How to stay motivated (podcast): http://dld.bz/cMpYt @chase_reeves
5 Stimulating Ideas to Spark Your
Creative Juices: http://dld.bz/cMpY4
@lizstrauss
The Brief Zine-Publishing Career of Mo
Willems: http://dld.bz/cMpY7 @jasonboog
@The_Pigeon
Getting to know readers: the new
accessibility: http://dld.bz/cMpYB @tobywneal
101+ Descriptive Words For Foods: http://dld.bz/cMpYU @kathytemean
When is it okay to stop reading a book? http://dld.bz/cMpZz @iainbroome
Why Self-Publishing Doesn’t Work – And
How It Can: http://dld.bz/cMpZC @yeomanis
Using the Subtext of Body Language in
Storytelling: http://dld.bz/cMpZW
@AlienNextDoor
Where to begin your story: http://dld.bz/cM2hd @KMWeiland
Describe with Telling Details—Character: http://dld.bz/cM2h4 @ava_jae
Streamline Your Writing: Cut Out
“That”: http://dld.bz/cM2hH
@lindasclare
5 Quick Fixes for a Story that Goes
Wrong: http://dld.bz/cM2hP @yeomanis
@writeitsideways
Lack of Support For Your Creative Work: http://dld.bz/cM2hU @susankayequinn
Fixing info dump dialogue: http://dld.bz/cM2hX @JordanMcCollum
The Evolution of Process: http://dld.bz/cM2jd @Marie_Lu
Why We Should Read Introductions at the
End of the Book: http://dld.bz/cM2js
@galleycat
Strategies to work around Twitter’s
follower ceiling: http://dld.bz/cM2jy
@stevebuttry
Should we let a group reprint our blog
posts to help promote an e-book? http://dld.bz/cM2jD
@michellerafter
Writing as Compulsion: http://dld.bz/cM2jT @womenwriters @janmerry607
What Gets Preserved? http://dld.bz/cM6he @amazingstories0
Unpacking Bowker’s new market research
(“the ebook is here to stay”) : http://dld.bz/cM6j2
@Porter_Anderson @Bowker
Does Twitter Make Sense for Most Writers?
http://dld.bz/cM6mn @JaneFriedman
Facebook Graph Search Advice for Writers:
http://dld.bz/cM6mp @jasonboog
Organization: Tips for Dealing with
Overwhelm: http://dld.bz/cM6mH @GeneLempp
How To Get a Book Published: A
Step-by-Step Guide: http://dld.bz/cM6mX
@annerallen
Scams in Writing Contests: http://dld.bz/cM6nb @susanspann
How to write realistic dialogue using
subtexting (scroll down for post): http://dld.bz/cM6nW
@Brandilyn
How to Include the Five Senses Without
Falling into the Telling Trap: http://dld.bz/cM6pf
@MarcyKennedy @Janice_Hardy
A Pantser’s Guide to Beat Sheets: http://dld.bz/cM6p4 @jamigold
Writing Outside Your Comfort Zone: http://dld.bz/cM6pD @diymfa @wendyluwrites
7 Ways to Write Better Blog Posts: http://dld.bz/cM6pE @aliventures
Hidden In Front Of Everyone’s Eyes – Our
Own Potential: http://dld.bz/cM6pQ @danblank
Hell With What Sells: http://dld.bz/cM6pX @chuckwendig (lang)
Great Character: Neytiri
(“Avatar”): http://dld.bz/cM8ad
@gointothestory
Michael Connelly on the No. 1 Key to
Writing a Series: http://dld.bz/cM8an
@writersdigest
5 Successful Marketing Strategies For
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How Do You Balance Work and Writing? http://dld.bz/cM8gN @LAMysteryWriter
Taxes 101 for Authors: http://dld.bz/cM8gT @susanspann
Bowker on who buys what: http://dld.bz/cM8hs @Porter_Anderson @Bowker
They Don’t Buy Your Book because it’s
Good: http://dld.bz/cM8xW @junglereds @PJNunn
3 Ways to Fill an Empty Bio: http://dld.bz/cM8yF @lydia_sharp
Why people stop reading books: http://dld.bz/cM8yH @speechwriterguy
Low cost options for getting editing help
if you can’t afford an editor: http://dld.bz/cM8zc
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How to Write a Novel Readers Won’t Put
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Crowdsourced Editing: The Future of
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@nickthacker @KMWeiland
The Easiest Way to Make FaceBook Timeline
Cover Photos: http://dld.bz/cM8zQ
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Making a book trailer–tools and tips: http://dld.bz/cM82j
A Writer’s Magic Bakery: Selling your
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@smithwritr
A look at the New Adult genre: http://dld.bz/cM82x
Writerisms Ten: http://dld.bz/cM82B
The Pixar Theory: http://dld.bz/cM82J @JonNegroni
10 Scariest Monsters in Children’s
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Too many characters in a novel? One
solution: http://dld.bz/cMA5k @medwardsbooks
“Agent-Assisted Publishing”: An
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Elizabeth George’s Writing Process: From
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Indiana Jones and the Great Test of
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Polishing your manuscript…1 writer’s
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Why 1 agent rejects manuscripts: http://dld.bz/cMA6u @rachellegardner
Be Clever to Be Riveting: http://dld.bz/cMA64 @livewritethrive
The Hazards Of Reading Our Old
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Writing satisfying endings: http://dld.bz/cMA8A
Story Maps: http://dld.bz/cMA8C
@shalvatzis
How Star Trek Helps Us with Showing
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Market to Readers, Not Writers: http://dld.bz/cMA9w @LissyWrites
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What Is a “Literary Change
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@Porter_Anderson
When authors spam: http://dld.bz/cMA9Q @EdieMelson
A Character’s Mental State: http://dld.bz/cMA9W @ingridsundberg
Write With Confidence: http://dld.bz/cMCwj
Create a major direction list for your
writing and life goals: http://dld.bz/cMCwu
@TiceWrites
A Beginning Meditation Guide for Writers:
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Suspect your category, but know your
story: http://dld.bz/cMCwA @byobrooks
The Essence of Storytelling: http://dld.bz/cMCxc
Starting freelance writing? The first 5
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Are Your ISBNs Legit? http://dld.bz/cMCxz @mybookshepherd
How to Write about a Time of
Anticipation: http://dld.bz/cMCx2 @joebunting
How to Punctuate Descriptions of Colors: http://dld.bz/cMCx4 @writing_tips
Where 1 writer gets her ideas: http://dld.bz/cMCx8 @tobywneal
Covers that Wow: http://dld.bz/cMCx9 @MariaZannini
How To Start Writing That Next Book and
Not Lose The Excitement: http://dld.bz/cMCxM
@cleemckenzie
The wow factor: http://dld.bz/cMCy5
Do You Need a Literary Executor? http://dld.bz/cMCyC @susanspann
Is It Fair Use? 7 Questions to Ask Before
Using Copyrighted Material: http://dld.bz/cMCyW
@janefriedman
How to Edit in Passes: http://dld.bz/cMCzb @ava_jae
Is Modern Poetry Too Complicated For
Modern Readers? http://dld.bz/cMC2X
Avoiding perfectionism: http://dld.bz/cMC2Z @brandenbarnett
Why computer games aren’t like novels —
but should interest novelists anyway: http://dld.bz/cMC3n
Screwing Up On Purpose: The Beauty of The
Deliberate Mistake: http://dld.bz/cMC3t
@jmcaddell
The link between depression and
creativity, and how it can be good for you: http://dld.bz/cMC32
@tannerc
6 Popular Tumblrs That Landed Book Deals:
http://dld.bz/cMC35
Self publishing and perpetual editing: http://dld.bz/cMC3D @JordanMcCollum
Organizing screenwriting projects: http://dld.bz/cMCSy @scriptmag @jeannevb
How Scholastic Sells Literacy To
Generations Of New Readers: http://dld.bz/cMCS9
@npr
Why Barnes & Noble Is Good for
Amazon: http://dld.bz/cMCSQ @carr2n
@passivevoiceblg
7 Essential Online Book Marketing Tips
from the Front Lines: http://dld.bz/cMCSS
@ticewrites
How To Email Your List: http://dld.bz/cMCSX
10 Things to Remember When Writing a
Legal Thriller: http://dld.bz/cMCTc
@writersdigest @ZacharyPetit
63 Character Emotions to Explore: http://dld.bz/cMCTj @fictionnotes
42 Writing Tips From J.A. Konrath: http://dld.bz/cMCTu @JAKonrath
7 Horrifying Ailments Named After
Literary Characters: http://dld.bz/cMCTS
@kimber_regator
A Perfect Plot In 6 Easy Steps: http://dld.bz/cMCTY @woodwardkaren
9 Inspirational Bits of Advice From Anne
Rice, Catherine Coulter, David Morrell and Others: http://dld.bz/cMCUg
@writersdigest @ZacharyPetit
22 Rules of Storytelling: http://dld.bz/cMCU8
Bringing Personal Experience Into Your
Writing: http://dld.bz/cMCUT @timscribe
@thecreativepenn
The Oxford comma: http://dld.bz/cMCVb
25 Things To Know About Your Story’s
Stakes: http://dld.bz/cMCVh @chuckwendig
(lang)
Who Got Cultural Studies In My Fandom? http://dld.bz/cMCVp @amazingstories0
Death and writing–what’s the connection?
http://dld.bz/cMCVM @BTMargins
@LaurHarrington
On writing better endings: http://dld.bz/cMRn2 @janelebak
Plotting and pantsing…either will work:
http://dld.bz/cMRn4 @ca_london
Finding Time to Write: Old-School
Technology Saves the Day: http://dld.bz/cMRn6
@Christi_Craig
Kurt Vonnegut’s 8 Rules for Writing
Fiction: http://dld.bz/cMRn8 @gretchenrubin
Increasing Your Email Subscribers: http://dld.bz/cMRnB @blogherald
There’s only one requirement for being a
writer—do you meet it? http://dld.bz/cMRnF
@ava_jae
Pricing Low Vs. Pricing High: How Much
Should You Charge for Your Ebook? http://dld.bz/cMRnN
@freelanceswitch
All about advances: http://dld.bz/cMRqj @stevelaubeagent

A revealing
interview with writer Lee Child:
http://dld.bz/cMREb

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