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I had a conversation with my agent a couple of days ago that reminded me of something that happened at the pool this past summer. Y’all know by now that I spent most of my sweltering summer at the swimming pool with my kids.

This particular day, I was there with my daughter and her best friend. Since we were at the pool between noon and 3, I’d packed a lunch so that we didn’t have to buy the expensive pool snack-bar lunch.

I’d stuffed a motley assortment in the cooler—1 peanut butter, 1 ham, a couple of apples, some chips, some cookies, some water, some lemonade. The kids came out of the pool, plopped down at the table, took things out of the cooler, ate off the table, dropped things on the cement, called the “five second rule” and ate everything I’d brought.

I was writing my book for a few minutes while they laughed and talked with each other. Then I put my notebook down and I talked to them while they ate about people I noticed at the pool—I wondered about people and what they were doing and where they came from and made up little scenarios about them for fun. They both came up with some of their own ideas about their fellow pool-goers. They stuffed the food down their throats and hopped back into the pool. I started writing Memphis BBQ 3 again, and looked up from time to time to make sure no one was drowning (and that the lifeguards looked like they’re on top of things.)

Suddenly this other mom sat down at the table next to me and I felt like a complete Mommy Failure. “Wait! Don’t touch! Don’t touch!” she said to her kids. She took out wipes and proceeded to wipe down the table and chairs. Then she spread the red towel you see in the picture down as a tablecloth (yes, I’m afraid I take pictures with my phone of anything I find interesting. :) I scare people sometimes…)as the two cute preschool children looked on.

She unpacked a HOT lunch from her cooler (which, I guess, makes it really a “heater”). Then, while the children ate lunch, she talked to them about how to tell time…pointing out the analog clock and quizzing each of the kids. She was completely engaged, though, instead of being distracted and vague like I was. At the end of it, she talked about simple addition and subtraction as she put things in and out of the cooler.

Then she talked to them about general pool safety.

But… the kids I brought to the pool just ate a (fairly) healthy lunch. They were happy. I did visit with them, but I didn’t strain their brain or anything. They were having a good time.

I’d done it all differently from the other mom. But, I think, we came up with the same results. Except that my kids didn’t learn anything too academic from our exchange. Maybe they were more creative during it, though.

She was a good mom. I think I am, too. But we parent differently—although hopefully both of us end up with children who’ve been well-raised.

Writing is like this. There must be at least a hundred different ways to complete a manuscript. Who cares as long as we all make it to the finish line? And, yes, hearing someone else’s success story about using a particular method may make me rethink mine…but after all, shouldn’t we just go with what works for us?

I talked to my agent a couple of days ago. I’ve got something new that I’m going to start working on in the next month. Of course, I’m also putting the finishing touches on the third Memphis barbeque book.

“Good thing you can keep these storylines straight!” she said with a laugh. “That’s where outlining and thinking it all out in advance comes in, right?” She’d talked to this other author who did a lot of outlining.

I paused. “Actually, Ellen, I…don’t outline.”

“Oh. Oh! Okay.” She thought about this for a minute. “But mysteries are really kind of complicated, though. An outline wouldn’t help?” she asked.

“I think outlining kind of messes me up, actually. I just make everything up as I go along. My first drafts are awful, but the mysteries end up making sense after the revisions.”

I’m sure this sounds like a really disorganized way of writing a book…especially to someone who isn’t a writer.

And there are writers I know of who have great careers and use a totally different process than I do. But we both sell our books.

Whenever I start questioning myself and the way I write a book, I just remind myself that it doesn’t matter how we do it—it’s just important that we write. We all have different processes—but then, we all end up with different books.

Do you have a writing process that works for you?

Studies have proven that most people are noticeably stronger in one hemisphere of the brain or the other, mostly due to their tendency to exercise one side more often. Neither side of the brain is better than the other. But, as writers, we can’t discount the value of figuring out which side we live in most—and then stretching ourselves to explore the uncharted territories on the other side.

Our work (and our lives) would be pretty useless without the logical sides of our brains. Our writing would be a frenetic wash of color and emotion, which would probably end up being indistinguishable to anyone but ourselves. We need that logical side of our brains to help us organize our thoughts into coherency. But the power of art is almost always the result of the right side of our brains—the unconscious side. So how do we keep our conscious brain out of the way long enough to tap into our unconscious creativity?

1. Make time to dream. In my recently released CD Conquering Writer’s Block and Summoning Inspiration (http://www.kmweiland.com/books_CWBASI.php), I talk about the importance of daydreaming. Quietude can be difficult to find in the midst of our hectic lives, but even just a few minutes of daydreaming every day can reap significant results.

2. Don’t censure yourself. Creativity is a delicate and temperamental creature, and it often wilts away under the weight of “the rules” or the carping of our infernal internal editors. Not everything that bubbles up from the depths of your unconscious creativity will have worth, but give yourself time to get it on paper and let it rest for a while before judging it.

3. Tell your left brain to zip it. Your left brain can be a pushy character. When he’s telling you he thinks he knows best how to write this story, tell him to stow it for a bit, so his chatter doesn’t distract you from the offerings of your right brain. Your left brain will get his chance later.

4. Focus on the senses. Our subconscious works on a level deeper than words. It feeds our brains with images, sounds, smells, tastes, and feelings, which our conscious brains then translate into words. Nothing wrong with those words (they’re the tools of our trade, after all!), but give a try to focusing on the raw sensations. Close your eyes and visualize the scene you’re writing. What colors stand out? What can you smell? What does your body feel like? This is the best way I know to find those all-important “telling” details that bring a scene to life.

5. Listen to your gut instinct. Ever get that itching feeling that something is wrong with a story? You’re zipping right along, having a good ol’ time with your characters… but something just doesn’t feel right. I’ve learned to trust my gut instinct. I can’t think of an instance in which it has ever failed me. We just have to learn to interpret what it’s telling us.

Most authors would be the first to admit that the best of their writing is beyond even them. It comes from someplace outside the conscious realm. Once we recognize and accept that fact, we are then able to take advantage of the tremendous opportunity of harnessing our unconscious minds. The two sides of our creativity—the conscious and the unconscious—working in harmony, the one pulsing and pounding ahead, the other slowing and refining, are capable of producing some pretty fantastic things.

K.M. Weiland writes historical and speculative fiction from her home in the sandhills of western Nebraska. She enjoys mentoring other authors through her writing tips, editing services, workshops, and her recently released instructional CD Conquering Writer’s Block and Summoning Inspiration.

Elizabeth invited me to share with you today something about writing. Since this was an important part of my process, I decided to focus on test readers.

Why would you need test readers? Bluntly put, it’s another set of eyeballs on your work. Test readers will see things you’ve overlooked – stilted dialogue, plot contrivances, continuity errors, lack of information, confusing transitions, and so forth.
We are so close to our work that we often miss these things.

Test readers need to be objective in order to be effective. A spouse or close friend might feel reluctant to hurt your feelings. (Then again, that might be your toughest critic!)

Test readers should be familiar with your genre and know what to look for in a good book. I also believe a mixture of readers and writers is best.

Allow your test readers the opportunity to read through the entire scene or manuscript. When they return your work, read every suggestion and consider changes. If at all possible, sit down with your test readers (or get with them online or on the phone) and discuss each page. Sometimes comments are vague and you need clarification. If there’s an issue with a scene, you need to know exactly why it doesn’t work. This opens up discussions and you can bounce ideas off each other.

It’s easy to grow defensive, but resist the urge. Consider the validity of each suggestion. If your test people had a problem with a scene, then so will other readers. Be open to changes that will improve the flow of your story and strength of your dialogue. Once you’ve made alterations, let them read it again to be sure all issues were addressed.

My test readers for CassaStar identified several mistakes. They pointed out scenes where more description was required to clarify the situation. They really assisted with my dialogue, suggesting cuts and changes where necessary. We even read through several scenes to achieve a smooth flow of dialogue. Without their help, my manuscript would still be a jumbled mess!

Do you employ test readers?

Alex J. Cavanaugh
http://alexjcavanaugh.blogspot.com/
CassaStar by Alex J. Cavanaugh
October 19, 2010 Science fiction/adventure/space opera
ISBN 9780981621067 Dancing Lemur Press LLC

To pilot the fleet’s finest ship…

Few options remain for Byron. A talented but stubborn young man with a troubled past and rebellious attitude, his cockpit skills are his only hope. Slated to train as a Cosbolt fighter pilot, Byron is determined to prove his worth and begin a new life as he sets off for the moon base of Guaard.

Much to Byron’s chagrin, the toughest instructor in the fleet takes notice of the young pilot. Haunted by a past tragedy, Bassa eventually sees through Byron’s tough exterior and insolence. When a secret talent is revealed during training, Bassa feels compelled to help Byron achieve his full potential.

As war brews on the edge of space, time is running short. Byron requires a navigator of exceptional quality to survive, and Bassa must make a decision that could well decide the fate of both men. Will their skills be enough as they embark on a mission that may stretch their abilities to the limit?

“…calls to mind the youthful focus of Robert Heinlein’s early military sf, as well as the excitement of space opera epitomized by the many Star Wars novels. Fast-paced military action and a youthful protagonist make this a good choice for both young adult and adult fans of space wars.” – Library Journal

Trailer:
http://www.youtube.com/watch?v=67YBjQve00U

Links to purchase:

AMAZON –
BARNES & NOBLE –
BAM

Also available in eBook format for Kindle, iPad, Nook, and others

Bio:
Alex J. Cavanaugh has a Bachelor of Fine Arts degree and works in web design and graphics. He’s experienced in technical editing and worked with an adult literacy program for several years. A fan of all things science fiction, his interests range from books and movies to music and games. Currently he lives in the Carolinas with his wife.

My 8th grade son is working on a social studies project that’s due tomorrow.

He’s carefully portioned out the work over the space of a week. He’s researched, cited sources, found images, organized data, and decided on a format.

His teacher gave a grading rubric and he’s meticulously followed it, ticking off each thing as he’s worked.

I decided to look over the assignment before he handed it in. The research and mechanics and presentation? Wonderful.

The problem? “Sweetie,” I said, “this is supposed to be an advertisement. Your brochure needs to convince people to move from overcrowded 1735 Britain to the New World to settle in Massachusetts. The facts are right. But it has to be persuasive.”

That was the whole point of the project. Not, however, listed on the rubric. :) He rewrote the material.

I think lots of writers do the same sort of thing. I know I did when I was new to writing— I followed a mental checklist. What was my hook? Did my first sentence grab the reader? Did I use too many adverbs? Show instead of tell? Write too much description…or not enough?

But, really, I was missing the whole point, which should have been: had I written a good story? Had I entertained the reader? Because most of us are writing to entertain.

Instead I should have been asking:

Did my characters come to life on the page? Were there moments of excitement? Humor? Characters for readers to relate to—and characters for them to hate? Was there something at stake for my protagonist?

Would the reader keep turning the pages… for the character depictions, the quality of the writing, or the exciting plot?

The other stuff can be fixed in revisions. Everything, ultimately, just boils down to the story.

It can be hard to get rid of the rubric in our heads—the checklist of the writing rules. How do you return the focus onto your story?

Hope you’ll join me tomorrow in welcoming Alex Cavanaugh to Mystery Writing is Murder. He’ll be talking about the importance of test readers.

Recently, I heard a couple of different people talk about simplicity in writing.

The first time, I heard two authors at an event I was attending, talk about another author’s books. The books are very successful. “But—they’re so simple!” said one author. “The plots aren’t complex at all—the stories are just so basic!”

The other author agreed. They’d both worked hard on complicated plotlines with twists and turns and surprises and were amazed that a very simple plot was working so well for readers.

Then, last week, a local movie reviewer came on a radio show to talk about good horror movies to rent for Halloween. His pick wasn’t some of the bigger budget horror films, but a movie called “Frozen,” which had had a limited theatrical release when it had come out earlier this year, but has apparently started to gain a following.

The movie’s plot, said the critic, is very simple. It involves snowboarders who get stuck on a ski lift—and, no one knows they’re up there or will know because the resort closes during the week.

And there’s a snowstorm, frostbite, extreme cold, scary heights—and wolves.

Very simple. But effective…maybe because it’s believable?

My plots aren’t really that simple—there are plenty of red herrings alongside clues, suspects tell lies (and tell the truth and it’s hard to tell which is which), and there are multiple possibilities for the mystery’s solution.

But at the same time, I try not to make it too complicated—after all, this is supposed to be fun.

I think my question is this: why does simplicity work with some plots and are there times when it doesn’t work as well as others? How complex or simple are your own plots?