In life, everything is constantly changing. This applies to books and their current trending genres. One week, fairies are topping the charts, but the next, Greek goddesses have taken over. Depending what genre those examples delve in, the writing is different. Gone are the days when Tolkien’s style of writing was popular. Now, stories told from a First Person POV and leaning heavily towards romance are selling the best. Those two elements can be applied to any setting and genre, but only if you know how to execute it.
Reading in your genre is the best way to see what readers are looking for. As the saying goes, readers want to read the same exact thing, but with minor changes and some originality. Once they pick up a book by you, they expect the others to be similarly written.
If you’re expecting to sell a lot of books, it’s best to stick with the current writing styles of authors topping the charts. It’s a personal decision to attempt getting a book into all of the current trends. Sliding into even one of them will drastically boost your ratings and get the attention of new readers.
At this point, you may be getting a bit defensive at the fact you should improve your skills. There is a vast difference between style and skill. Style is the art of the storytelling. Your style may always be changing or you may have nailed it down earlier on. The skill is the execution of the writing and should always be improving.
A question that often comes up for seasoned authors: “do I still need an editor? I have x number of books under my belt now. Surely I can self-edit to save money and time.”
Famous authors like J.K. Rowling, R.A. Salvatore, Stephen King, etc. still use their editors. Why? They’ve written multiple books and have been writing for years. Shouldn’t they be self-sufficient by now?
Writing a book and editing a book is not the same thing. That’s why an extensive process has been created for publishing. Yes, your work will definitely improve over the years if you continue honing your skills and pay attention to some of the things your editors suggest. There will still be mistakes that another pair of eyes need to catch.
You may be thinking at this point of the article that “It’s okay. I’ll have my best friend or family member read over it and it’ll provide a professional result.” This is often not the case. Even someone who reads books extensively or has an actual college degree in English won’t be able to catch all of the mistakes. Degrees are a piece of paper awarded to someone who completes courses. It doesn’t show their experience or dedication to the work.
Normally, there are three stages to editing: Structural/Developmental, Line Editing, Copy Editing. Laid out like that, it looks easy, but it’s far from simple. A manuscript is normally read through and edited a minimum of five times. Professionals who have studied current genres, story structures, sentence structures, etc. are worth having edit your story and getting it to a traditional publishing level, whether you are attempting that route or self-publishing. Readers expect professionalism and will stop reading after finding mistakes in the book.
“But that’s okay. I’ve already established a reader base.” It’s extremely easy to lose readers once they realize your future books are not up to par with the others. The more books you release, the better they are expected to become. Not the opposite.
After being in the business for so long, one ends up seeing multiple dreams being squashed or coming true. One of the worst things is getting in your own way and causing everything to crash and burn. This has occurred many times and as such, has warranted this article.
Many publishers have the option of manuscript and anthology submissions. When someone submits to both outlets and one gets rejected, the automatic response is to withdraw all submissions from that publisher. This is the wrong way to do things. Just because one thing was rejected does not mean everything will be.
There are so many possibilities as to why it was refused. Some of the most common reasons is it needed more editing or that story didn’t fit in that particular anthology. No matter the reason, none is cause to withdraw all of your submissions. More often than not, the publisher is planning on accepting one even though another was rejected.
The reason many authors are not successful with traditional publishing is because they don’t follow submission guidelines and once refused, they automatically give up. “Self-publishing is such an easier way to go” has been a saying going around writing communities. It may be easier, but you will never have the same opportunities that traditional publishing gives. And so, the story that was rejected due to poor editing is uploaded for self-publishing without further improvement and gets nowhere with sales.
The worst of all is that, more often than not, the author never continues improving their writing. Critique is the most important way to continue honing your writing skills. If you think you’re already the best and have nothing further to improve, then you’re already in the wrong mindset.
To be continued in a later blog post called Why You Still Need an Editor After Multiple Books…
DSP typically plans and produces six to twelve anthologies a year with a short story word count ranging from 5k to 15k words. Technically, there is no sole right way to write a short story, but there are a lot of wrong ways. However, we’ll focus on a couple of methods used to entice your reader and get them hooked on your story for the next twenty to forty pages.
Let’s assume you know the components for proper characterization, tension, theme, POV, etc. For a good short story, you only need to place heavy emphasis on two aspects of your story; a good hook and your scenes moving at a face pace toward the climax.
The hook is the opening line or scene to ensnare your reader. It’s a statement that makes them develop an interest in your story right off the bat. For a short story, you want them vested in your tale from the very beginning because you don’t have a lot of words to develop your character or theme. There are several easy ways to write a hook that will have your reader jump into your story; in media res, mystery, and disturbing.
In medias res means, “in the middle of the action”. Instead of starting out those teenagers having sex by the lake and then getting killed one-by-one by the psychopath in a hockey mask, you start the story with one of them running for his life while being chased by the psychopath. In my story, Malicyne’s Puzzle, the hook took place with a battle between a pirate ship and a naval frigate. Thela’s Angel started with poor Thela getting beaten to a pulp by her husband in the inn. Daughter of Darkness starts the story with the holy knight, Rhain, landing a killing blow through a demon lord’s heart in the temple of night elves dedicated to the worship of the Tri-Headed Queen.
Mystery is a very common mechanism. You start out with a profound statement or an enigma for your story. In my book, Fallen From the Stars, it opens with the following:
“Come with me.”
A gunshot rang out, followed by a woman’s scream and the world turned to utter darkness. That’s all I can remember.
Was the main character shot? What happened? Who said, “Come with me?” Readers don’t find out until Chapter 12 Bad Memories, but in a short story, you reveal the mystery of the hook usually at the climax or at the end.
Disturbing is a less common one but is great for grimdark fantasy, horror, or something in which you’re going for shock value. It makes your reader shout, “WTF did I just read?!?” and then they are compelled to read on just to figure out why you wrote that. The Disturbing method will typically contain triggers (again, for shock value).
A word of warning about using the Disturbing method – know your audience. If you’re a fantasy writer who typically writes YA epic fantasy and you want to try your hand at grimdark fantasy, your loyal fans are in for a rude awakening. Secondly, a lot of publishers have a “no graphic [anything]” rule (or rules on certain triggers in general), so don’t violate submission guidelines by writing something that will make people wonder if you’re sane or turn your editor off to you.
After you’ve written your hook, all your scenes following should be paced as if racing toward the climax. You’re not walking or building up to the climax, you’re running to it. A perfect example of how you should pace your story is by watching the promo trailer for Dragon Age: Origins. Here’s the link (Warning: Violence and Blood):
What did you see here if this was a story? An intrepid band of adventurers on a quest in monster-infested mountains filled with ice, snow, and death. There is the brief pause by the main character, a weapon is thrown from the ice and then boom, we are running through the action building up to the climax of the sorceress Morrigan casting a powerful lightning bolt that lays low the dragon. Did you note how fast the action moved and how it flowed from one character to the next? This is how your short story should flow from one scene to the next, and then building up to the climactic battle with the dragon at the end.
Master this and you’ll sweep your reader up for an intense ride with only a few thousand words.
As writers we all experience writer’s block. But nothing is more frustrating than when we are in the middle of an important scene and then, BOOM! The writer’s block strikes. And suddenly we find ourselves gently banging our heads against the desk, wondering when it will back. Getting stuck on a scene is not fun. I’ve come up with a couple ways of breaking through the writer’s block barrier:
Try writing the scene from the perspective of another character. Sometimes getting into the head of another character can give you a fresh perspective on your scene.
Make a music playlist for the scene. Nothing helps get creativity flowing quite like music. If you use music to set the scene it might help you get through the writer’s block. I usually like to make a writing playlist ahead of time, specifically to try and get ahead of any potential writer’s block.
If you are artfully inclined, try sketching out the scene. Alternatively, if you’re like me and your artistic expression doesn’t range beyond stick figures then you can try making a mood board on Pinterest. Sometimes seeing a visual representation of our scene helps to get the creative juices flowing again. Alternatively, doing something creative can get us back into the writing frame of mind.
Circle back to it and instead write the next scene. Just because you’re stuck on one scene in particular, that doesn’t mean that you can’t keep moving forward. Plus, this might help to get the flow going again.
Try writing in a different style or POV.
Write the dialogue only. I really find this one particularly helpful. Sometimes we get stuck on a scene because we’re trying to set the scene with descriptions etc. But if we get the dialogue and character interactions down, we can then circle back and layer on the other elements afterwards.
If all else fails, get up and go for a walk, come back, make a hot cup of something, and then try again. This is my go-to solution when nothing else is working.
What writer’s block solutions do you like to try when you’re stuck on a scene?
You must be logged in to post a comment.