A critique partner is a writer with whom one shares and critiques work on a regular basis. This process isn’t the same as co-write stories, because the manuscript isn’t written by both writers, but they should have overlapping ideas and motifs. A critique partner often influences one’s writing in ways beyond the feedback shared because they can be a person one springboards ideas or troubled areas off of. They have an inherent understanding of the writing process, which makes them able to offer specialized insights others may lack.
It’s common for writers to become each other’s critique partners, where the two writers exchange manuscripts for feedback. Because the writer is often both the person receiving feedback as well as providing it, this series attempts to cover both sides of the giving/responding to feedback process.
I think most writers believe if they plan to head hop, it should happen every other chapter. And I think that’s a soothing concept. People like patterns. The problem comes in when as a writer you have multiple scenes that don’t lend themselves to alternating equally.
Like in the beginning of the book, a writer might want to set up the protagonist and his or her normal life. That could be 2-7 chapters (or more, it’s a random number) of scenes all from his or her perspective. And yes, you can flash to unrelated nefarious scenes from the antagonist, but I think this may open its own well of problems. Do you want readers to know “all is not well” or even what that something is so early into your work? Does knowing something the main character doesn’t create tension or does it create frustration? Is the jump between two different tones too jarring? Has the author established why she should care about both narratives? What happens if your antagonist isn’t active yet? Like if the big bad is a construction mogul, I don’t want to hear about the details of their business stuff (even if it is shady) until they try to buy the main character’s farm—because that other stuff doesn’t matter to the story the writer is telling (maybe), it’s just filler they’re giving me so they can write in a pattern with how the perspectives changes between the two characters. If I’m working my way through the main character’s struggle to keep their farm relevant, a bunch of legal back-and-forth claims of land or bad building practices is jarring and may tell me way too much about the second act.
And there’s a case for my problem in the Numia series. Did the pressure for an alternating perspective drive Holmberg to share Rone’s view? Would those books be better without his perspective? There’s no way to know.
, I finished the series “The Kingmakers War” by Kate Avery Ellison. The first three books are written in a limited third person perspective where we follow Briand. Book 4 sets up a far broader continent sweeping story and we get a lot of chapters on palace intrigue and on “enemies” movements/perceptions. And I discovered I might be one of those readers you can’t please because I didn’t like how she changed the focus from mostly Briand to a more “Game of Thrones” style story. While the expansion of the narrative was a little jarring, I found I didn’t care about the head hopping because often the characters were involved in stories I didn’t care about OR their story was too much about Briand but from a different perspective. Briand telling her own story and discovering these differing view points on her own would have made a better (in my opinion) story.
I felt significant pressure to make my novel alternate perspective every other chapter. It halted my creative flow on the second draft for a good eight months. And I can give you a million reasons why the perspectives don’t alternate following a set pattern but my conclusion is from a story telling vantage, alternating perspectives every other chapter would give Roxi’s take and then Gerry’s take on the same event, but it would become monotonous. Sometimes not telling a reader how or why characters do things is better. It leaves interpretation open.
I think the age of your audience matters. Both Ellison and Holmberg are working in a young adult audience. Their works may NEED to spell out certain elements more definitively because teens need that little extra push towards reflection. As a teen, I read the “Animorphs” series and it’s told from an alternating first person perspective. As a teen, I loved that gimmick, and I loved rehashing each and every single detail from someone else’s perspective. As an adult reader, I still enjoy different takes on the same story, but the perspective has to be distinct and have a larger purpose in the narrative. I think it’s just an evolution and refinement of the parts I enjoyed in close narratives. So my “complaints” in how Ellison and Holmberg share their stories may be perfect introductory primers for teen readers.
I hope in my own writing I’ve first actually made more space for readers to speculate, but second that readers of my books enjoy that instead of looking for a more definitive answer. Personally, I think it’s part of differentiating between young adult and new adult literature. Less is spelled out for rehashed. But I don’t know for sure and won’t know until some reviews roll in on my book.
What do you think about head hopping? Do you like to relive the same scene from different perspectives? Do you prefer a pattern to how perspectives jump or do you just want to vary perspectives when the story calls for it?
This series of posts has simple goals: provide some basic history on a holiday/event from the past and use that history to spring board potential writing prompts and themes. For some, the history on its own will be enough to come up with some story ideas. For others, I offered some starting points with themes, scenes, and possibilities I see for the holiday at hand.
Happy writing and please share a snippet or link to your inspired works ^_^ I’d love to read them.
The ancient Roman festival of Matralia takes place on June 11th.
Matralia is a lesser-known holiday honoring Mater Matuta. Free women who were single or in their first marriage would bring offerings of cakes or earthen cookware to the temple. Their sisters’ children sometimes accompanied them (but never their own).
While at the temple, the matron may lure a slave in, whom she would abuse (slap and drive from the temple), then she would place a garland around Mater Matuta’s statue and all the women there would pray for the safety and health of their sisters’ children.
Mater Matuta is an indigenous Latin goddess the Romans considered like or the same as Aurora (Goddess of the Dawn) and/or Eos (Greek Titaness of Dawn). Over time Mater Matuta also became associated sea harbors and ports. She was sometimes confused with Leucothea (Greek sea goddess). Considering both Aurora and Eos rise from Oceanus each morning to herald the coming day, it is easy to see how she could become connected to the watery realm.
Prompts: -Mater Matuta’s celebration centers on asking for favors for others, but the ritual includes cruelty to the most vulnerable in Roman society, what does this imply?
-Write a slave’s perspective on this celebration.
Do they have a supernatural experience or is it more cruelty they endure?
Does this day stand apart from other treatments they’ve received or is this another day in their life?
-Scene: Two sisters who’ve always gone together to Mater Matuta’s temple and brought each other’s children, this past year one of the sister’s husband died in battle and she remarried. The other sister must go alone to the temple, leave her children behind, and take her sister’s children.
Write either sister’s perspectiveWrite from the perspective of one child.
Write from the perspective of one husband.
Write from the perspective of Mater Matuta, why the one sister is lost to her now and how the other sister’s children suffer for it.
-Explore Mater Matuta’s motivation for calling on only single or first marriage women to worshipIs this a purity issue?
Is Mater Matuta looking out for the women and killing husbands (perhaps at sea) who mistreat their wives but she can only intervene once.
Both Aurora and Eos are known for sexual liaisons with mortals, maybe they use these festivals as an opportunity to scout out new bed mates?
-Why does Mater Matuta take in her sister’s children? Is she a patron for the motherless?
-Does Mater Matuta answer all the women asking after their sisters’ children? What does she want for the children she blesses?
-When does Mater Matuta hear these prayers or bless these children? What is the festival like from her perspective?
-Do we have a similar custom in today’s society? While many values family ties, is there a day where you seek only your niece or nephew’s wellbeing and what does that day look like? What would the supernatural force look like?
-If people were to celebrate Matralia today, what is the desired outcome and what are the rules you’d follow?
Do your characters omit cruelty to slaves or substitute it?
Do your characters maintain a temple or do they create a makeshift one?
Do your characters keep the old rules and only allow single women or women in their first marriage to participate?
Do it involve any of the traditional elements of the day or do they transform the practice?
I write all kinds of stories, but my favorite ones are where my character is presented with an opportunity for violence and rejects it. It’s where my real life persona bleeds into my writing.
It’s difficult as a writer to create stories centered in nonviolence. A death, fight, or even the threat of violence creates stakes in a work that keeps readers interested. If no one is going to die or be harmed, then what drives investment?
Build interesting Characters. Characters a reader wants to learn about benefit ALL works, but building a curiosity about “what will happen next” when a reader is confident the character is “safe” is crucial if you aren’t going to hold anyone’s life at gunpoint. Readers have to invest because these your characters are funny, charming, quirky, intelligent, or determined.
Build Relationships. Core to the soap opera genre is the “will they won’t they” “What will happen when Susie finds out?!” kind of drama. While soap operas also offer violence, often because serials have gone on soooo long, every relationship twist has been picked clean. If you create deep complicated characters with established relationships, they you can hold interest with their interactions a long time, without ever threatening anyone’s life.
Have a lot of characters. People are social animals, and we like social interactions. Instead of two main characters. Have ten. Let them have their own side plots, spread them out in your world. Let them argue, separate, go their own ways and meet back up. Conflicted goals and ideas can create a rat race to see who achieves their ends firsts. Watch the “good people” get lost in less than moral means to their ends and the “bad people” gain humanity as they see all the harm created from theft x.
Add Mystery. If people aren’t going around stabbing each other and shooting up schools, then there needs to be something else happening. A quest, a pilgrimage, a strange ritual, or an action element that’s out of place. Something curious or suspicious that makes readers wonder “what’s really going on?”
Add Movement. Violence is often equated with action, but it doesn’t have to be. Dance, chases, cooking/cafes/restaurants/hotels all incorporate motion by design. Giving the reader little actions to focus on
This post speaks to my personal writing process for “Halloween Spirit” and as such is contains spoilers for that work. For a deeper understanding of the elements included or explained in this post please read my flash fiction (it’s short and free ^_^).
Zach Standfield challenged me to write a piece of flash fiction in August. One of the ideas I had was to create an elaborate detailed summoning rite that brought about the end of the world. The short work would focus on my strengths: lyric description and magic set in a modern world. It would avoid my weakness for action scenes and it side steps issues I have about over explaining or creating a finite conclusion.
I wrote two flash works for Zach (neither of which he’s seen) and they both took a grim turn resulting in the brutal murder of the female main character from outside forces she surrenders to. Waaaaay too close a metaphor for the suicidal tendencies slipping into my own head because I’m not handling stress well at work. For the record, I’m not contemplating a plan to end my life, it would be stupid to take a permanent solution for a fleeting problem. But the stress from ongoing conflicts at work is leading me to think “it would be much easier if I wasn’t around” and that was coming through too literally in my writing.
I shelved the third flash idea since I didn’t want it to morph into a 30 something female woman sacrificing herself on the boardroom floor, using the energy of her death to open a hell dimension that forces the people who mistreated her their to suffer for eternity.
Then, I had an idea for our blog. Each of us should write a Halloween themed flash for our blog. Awesome idea, except I suck at short stories and had no idea what I would write.
I thought maybe I’d lean into my fae angle and do a “Wild Hunt” style thing, but “The Most Dangerous Game” already exists. Plus, the idea took over 1,000 words to explore. If I wanted to do something new/interesting, it would take more than 1,000 words.
Next I thought “what’s my thing in the writers’ group?” My literary device is some kind of magic. This reminded me of the summoning story I‘d planned for Zach’s challenge. The problem: no Halloween tie in. So I changed the summons and instead of focusing on a cinematic summoning ritual, I focused on the holiday and hidden darkness that lingers in the fall. I played on the “Wicca” God and Goddess creation myth where the Goddess Births the God, they become lovers, and he dies on Samhain, to be birthed out again in the following Yule. I tossed in two cult classic “Wicker Man” (1973) references to hearken the reader back to a certain time and tone.
For birds gathering, I chose crows over ravens primarily to reference the figure “The Crow” (1994) and foreshadow the death elements. Also, crow mythology pegs the creatures as watchful, resourceful and often tricksters… all elements I wanted to elicit in my story. I thought about using Ravens in honor of Edgar Allan Poe, but those birds are larger, live in only specific regions, and mythologically relate back to winter.
I wrote the first 600 words in one afternoon and would have finished, but I had to stop and go to work. I reread/edited what I had so far and finished the first draft four days later. Ran everything through ProWritingAid and posted to Google Docs for the Writers’ Group to Critique. I read it out loud one last time and added it to our queue for publication.
While the creation process was painless, I’m torn on whether I like the final product. There are great single lines and ideas, but the word limit combined with the time constraint kept me from digging in to find a perfect moment. I usually only consider works done after months of review and reflection, so I figure in six months time, I’ll know what would make this story engaging.
Interested in reading more from Jessica Donegan? Check out the NEWG bliz round robin exercise here with Jessica’s ending available here
When I queried agents over my novel Follow Me: Tatter Veils, I got one personal rejection. The agent (and I apologize as I can’t find the email to name him) told me a major stumbling block I might encounter in pitching my novel is that I suggested it for multiple genres.
My mind makes connections. If someone followed my thought process, it’s like one of those mind maps except almost everything connections to each other some way. In all my work pulling together this massive 75,000 word work, I’d never thought opening it up as a genre crossover would limit my ability to market.
Since then, I describe Follow Me: Tattered Veils as an Urban Fantasy. It fits considering the book happens in present day world and introduces magical/mythic elements into an otherwise mundane setting.
Except, it also doesn’t fit. Follow Me: Tattered Veils is at its heart a book about obsession and stalking. The protagonist, Roxi, is living her daily life when Gerry, an ancient unpredictable fae being, deigns to take notice of her. From there, it’s a cat-and-mouse game of near brushes and tense attempts from Gerry to lure Roxi into his world. The novel culminates in a chase through faery land where Roxi must either save her friends and escape this dangerous world or surrender her autonomy to Gerry.
Could be Magical Realism. I use the concept of fae glamour to make these otherworldly beings hide in plain sight. I suggest this idea of two realities, the one we know and this other layer waiting underneath that Gerry, Roxi, and others work with. It isn’t the traditional secret society type deal, more like an alternative experience of reality.
But, I think Magical Realism has more magic integrated that’s just a shoulder shrug. Everyone knows about it, accepts it, and moves on. My magic systems imply they are real like Christianity and like Christianity, few people have or seek a genuine experience.
My colleague Lionel Green, suggested the back was “terrifying” and he read straight through that part “non stop”. It makes me wonder, is my work horror? There are both the real world and fantasy elements of the book that are horrifying.
In my heart, the book is a lot more about how a woman experiences the male gaze. In that way, I think Follow Me: Tattered Veils might be women’s fiction. The men who have read the book suggest that they “enjoyed reading it. Good on its own, but I’d never buy this book based on the description.” Does this feedback mean I’m marketing the book badly for both genders or is the work intended for a female audience?
This sort of bullshit was why I wanted an agent. Don’t they help you find and speak to an audience? What do they do? Because I had the idea, wrote it, edited it, and submitted it. So I’m just wondering when someone else comes in to help or if publishing is a solo journey.
Alas, I need to choose the genre too. Is there any part of publishing that isn’t a struggle?
Does anyone else have trouble identifying their genre? Do you think being in the right genre is core to success? Have you written anything that someone has labeled a cross over?
What about summarizing long works or picking which elements are most paramount? I am so invested in Follow Me: Tattered Veils, sometimes it’s hard for me to know what’s important. Any tips or tricks? Do I Google search what’s hot and sell it that way?
Looking at the path from spoken story, to recorded story, to printing press, and now to online and print formats, I can see that technology historically is huge for the aspiring writer. It seems that as technology and communication improve, the different ways it can help writers also exponentially increases. I’m awed and overwhelmed with the different tools at our disposal. To help sort the varying tools, I’m creating a series that explores different services mean to help an aspiring writer. This week we have tools meant to increase daily word count or to encourage a daily writing practice.
750 Words is my favorite of these sites. The purpose is to write 750 words or three pages every day. Once you’ve created an account, it will provide a space to enter text and you just type. When complete, send in your work and 750 will analyze the writing to see whether you were happy or relaxed based on keywords. The site will break down when you paused and when you were in a hot streak. For those who like to compete, you get points and a score board if you keep to the daily 750 word assignment. Best of all, all your writing is private. First thirty days are free and it’s only $5/mo afterward.
Write or Die is an software that puts pressure on the writer to produce text in a set amount of time or…consequences. The most disturbing thing the software does: it deletes words if you pause for more than a few seconds. Write or Die will either help you up your word count or obliterate every letter on the page. It costs $20 and I’ve often toyed with whether it might be worth the price tag to place my feet to the iron. I’m afraid I don’t have the stomach for the software.
Word Counter does a lot more than count your words! If you create a free account, you can create goals to work towards and the site will track progress for you. The site is linked to Grammarly, so spelling and grammar can be altered through them. Beyond that, Word Counter offers stats similar to those available on Hemingway App. It provides a reading level, how long it would take to read or speak, and it also offers a “word density” that may suggest whether you need to crack open a thesaurus. For strict editing, I prefer ProWritingAid, but if I was looking for a hybrid motivational tool and editor, Word Count seems like a capable option. It’s free to use.
Rescue Time, the wonderful Christopher Palmer mentioned this site to me, and I think it’s great for the aspiring writer. The light version lets you set goals and tracks how much time you spend on the web and where. It let’s you know how much time in front of the screen you’re wasting not writing!
What do you think? Do you use any of these softwares? Do you know of any other sites or apps that encourage word count or daily writing? What do you use to track your writing metrics?
Rick Polad shared What’s in a Name? It inspired me to create my version. And since we both admit we’re crap at creating names (well he struggles, I admit I’m crap at it), I figured I’d steal his title to keep with the theme…because I don’t want to waste time creating another title not because I couldn’t.
It’s content that matters right? Except if your title or name sucks, no one will ever get past it and into all the good stuff, which can leave writers stuck. Even people good with names, can feel stymied by the pressure applied to first impressions. Bland titles that don’t search well in Google or Amazon.
I have a few thoughts. First don’t use character names that start with the same letter in a single story. I know Polad speaks about using Rose and Rosie as two different character names in the same work. I’m thrilled it worked out for him. As someone with dyslexia it wouldn’t work out for me as either an author or a reader. Those two names read the same on a casual glance. Figuring out the characters are separate and keeping them separate would slow my reading down to a snail’s pace. I might need to make notes. So don’t make your characters’ names so similar please.
I go one further and try never to use names that start with the same letter. People skim, they don’t read anymore. I don’t want to confuse anyone kind enough to read my work with names that tangle different characters together into one person.
I also suggest using one name for a character. I’ve read a lot of books where halfway through characters develop nicknames that are either shorten versions of their full name (i.e. the author tired of writing the full thing out) or the character develops a random pet names. It’s annoying to keep track a bunch of different names. Use one name even if it’s not the real name have everyone call him Snake or whatever. There is ONE seriesofbooks where the author used nicknames to her advantage. In it she has the main character name those around her after their predominate traits. It works because it helps us get to know her main character and because the main character’s insistency on these nicknames ends up forcing other characters to adopt them. The nickname that uses the character’s defining trait becomes how everyone addresses the guy formerly known as Bob.
I’d like to tell you not to make the name ridiculous, but I use outrageous names all the time. What I will say is that it’s a balancing act to make names unusual and other names more standard. Consider when a name might be too on the nose or when one person has a unique name in a sea of bland.
And Now Helpful Resources: First is Behind the Name If you’ve got a theme, this site will fill your queue with potential names. You can search through meanings, country origins, and genders when hunting for names. All of this can be a sly nod to a reader or something meant only to tickle the author. My second favorite site is the Fake Name Generator. Ashley, in writers’ group, gave me this site and now I’m sharing the love. Identity genorator offers “believable” if you are looking for that living in the real world vibe. Fill in the specifics you have and let the site give you the rest. It’s an interesting creators’ tool.
*Edit 11/7/18 I just found Reedsy has a interesting detailed name generator that offers names for Villains, heroes, mentors, and side kicks. Or names specific to fantasy races, or names bases off of certain languages. I still prefer Behind the Name, but Reedsy’s resource has too much possibility to exclude.*
Next I recommend a writers’ group or series of peers. Ashley gave me a name for one of my characters and she let me know another’s name isn’t “too on the nose”. Having outside feedback is key to getting into a potential readers’ mindset.
Last, when all else fails, I bang the keys of my computer and see what rises from the gibberish. I like grabbing scifi names this way. Talk to me. Do you have trouble creating names for people and places? Do you have tips, tricks, or favorite sites to help? Any other thoughts on what not to do when naming a place or person?
Do you listen to music when you write or is the room dead silent? Do you use a special mix with specific songs or do you pick a genre and then let Spotify or pandora pick the playlist? Do you prefer songs with lyrics or are you into pure instrumentals? Can you write only with music or only in silence?
For starters, my music service of choice is Pandora. Ever since the service came out, I loved its evocative name and the way the service introduces me to new music has always intrigued me. Countless hours in college fiddling with the radio settings and “thumbs up” or “thumbs down” different songs, forged a lifetime bond with this service. I keep some channels so fine tuned that some songs I like don’t play on one station, only the other. All this personalization is perfect for writing because I can pinpoint what kind of emotion and tempo I want while I write.
As a general starting place, I listen to pop/dance music when I write. The fast beats encourage the words to flow fast and constant. Most pop/dance is repetitive and uncreative (sorry), which helps me get to a state of mind without coloring my prose. Unless as you read this you’re thinking “oh no no no, don’t phunk with my heart,” Black Eyed Peas make consistent appearances on this channel. The best part of my dance music motif is that when I get stuck on a certain scene, I can stop writing and start an impromptu dance party! Nothing drives progress like an endorphin hit.
That said, I have a short story I inspired by one specific song. To write it, I looped the one song the during the whole writing process—hours of the same song, and I still find that song mysterious and inspiring. Something about its slow start that transforms to frantic drums and ends abruptly –
For reference, while I like pop/dance just fine but they aren’t my go to genre. Except Lady Gaga whose amazing, my music preferences just for enjoyment include hard rock, metal, alt rock, grunge, and folk. Angry and loud or pensive and angst (but never Emo they feels are manufactured). I like songs I can channel feelings through and release. Problem with this kind of music is that sometimes it makes me feel too much. The writing becomes too personal or I’m too busy wallowing in an emotion to refocus on what I meant to do. I might occasionally listen to a folk or rock station briefly so I can capture that bit of that depth my writing, but I don’t want to live there. Writing or reading a story that’s all brooding anger and open wounds sounds terrible and exhausting for everyone involved.
Do your music preferences match what you listen too? If you use a writers’ playlist, what does it reveal about you as a person or as a writer? Follow up thought: do you longer works have playlist? What about your characters? My favorite creation, Roxi, has a playlist and I wonder how many other authors’ creations take on a life of own through music.
Writing is theft. Confession time: there are no characters, situations, or concepts in my writing I haven’t lifted from a real world experience. While anything is fair game for a story, I’m most focused on having “real characters” that a reader can relate to and believe are real while I make a world full of the fantastic these normal people have to deal with. Because I like character studies, my most stolen tidbits comes from the surrounding people.
When I talk to you with that over eager, boisterous barrage of questions, I am interested in you, but I’m also pilfering all your experiences and responses to mash up later when I sit down to write. Do not leave me alone in a room because I rifle through every drawer. There’s no shame in my cat killing curiosity and there’s no end to it. Tell me to back off anytime now. I know my intensity is off-putting, and I try to keep a lid on it. If we ever meet, I hope you’d never suspect how hungry I am to hear your life story. How much I want to dig into an abstract hobby of yours. I want facts I can check to see if you’re the honest sort, but either truth or lies, I’ll incorporate that study to some Frankenstein-esque mash up of you and four other people I met this week. It’s alive, and the only part I can claim rights to is how I fit the Tetris blocks together.
What in your day-to-day life do you steal the most inspiration from? Are your gems personal experiences and past events? Or do you explore expansive new places, plumbing each place for its local traditions, retooling them to your desires? Do current or past politics spur you into creative world building? Are you seeking to recapture old myths and fairytales in an unique way? Or maybe you dream of technological break through in the present and think of what they’d mean in the future (or what they would mean if delivered to the past)? There’s so much information offered, rife for a writer to pluck up and entwine into a new story. How is a creative to choose? Tell me what you hunt for, what parts of your story are the “most real” and how do you obscure the origins of those tidbits?