Tag Archives: writing

Battling Negativity

If you are anything like me, you spend a lot of time thinking about how much you can’t. Or possibly about why you can’t. When you can’t. Even the many reasons that it makes sense to not, instead of TO DO. Mindsets are hard things to change, but it is very important to try. This post will go over some methods for battling negativity, so that you can get to writing instead of making excuses.

I don’t know how many writers feel this way, but I am great at making reasons about the impossibility of getting it done today, all the way up until I’m doing it. Then, when I begin, it’s like all of that melts away, the entire world disappears; and it’s just me and my story, or essay, or post or whatever and none of the rest of it matters. So then I find my self wondering, why did I go through all of that?

Battling Negativity

Self-Care

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I think one of my issues, boils down to self-care. I am a wife, a mom, a full-time employee, a dinner-maker, a laundress, a part-time gamer (haha), a shoe-finder, a maid, a time-out giver, a referee, a sister, a daughter, a dog-mom, a cat-mom, and at the very end of the list, I am the thing I most want out of life, a writer. Oh, and sometimes I even exercise.

With all of the things that I do, all the things that I have going on all the time, it is so hard to find that moment where I feel like it’s okay to write. I don’t get paid for writing, so why do it? The answer, because it is the thing that gives me (besides, you know, family and kids and love) the most-I don’t want to say joy, but that is the word that first came to mind- fulfillment, maybe is another one.

If we are constantly putting ourselves last, we not only get burnt out, but we also end up feeling resentment toward those who we love the most. In most cases, your family and loved ones will understand if you choose to spend a few minutes on yourself each day. I say most cases because I understand that there are exceptions. And simply getting the time to do the thing will increase your confidence in the story, which will help you to feel more positive about it, and negativity decreases.

Habit Building

I have spoken about habit-forming before. What does it have to do with battling the negative version of ourselves that either stops us from writing, by telling us we can’t do it? How does forming habits help us to put ourselves higher on the priority list so that we can write more and feel better about it?

Habits are like muscles. Think about any person whose great at sports. They practice, probably every day. They don’t just do their sport for a couple of days, and then stop for a while, and then practice again later for a few days. The people that come to mind for me are Michael Jordan, Tiger Woods, Tony Hawk, and Serena Williams. None of those people got to where they are without practicing their sport consistently over years and years. I am not talking about any kind of scandals or anything, simply that they are good at what they do, and the reason is because they consistently practice.

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In the writing world, authors that have spoken about how important it is to write every day are: Stephen King and Brandon Sanderson. Those are the ones I think about off the top of my head. Brian Evenson said that you need to take the “speacialness” out of writing. Do it anywhere at any time. He uses hotel paper to write on, and he will switch to a computer if he finds himself stuck. Make writing such an everyday thing that it doesn’t matter how you are doing it, as long as it’s getting done.

The point about habit-forming is essentially that you need to get your writing muscles used to doing it. If you want to be a writer, you have to write. In order to conquer your negative self, you have to find a way to write even when you feel some kind of way about it that day.

Replace Negatives with Positives

This one is more of a psychological trick. Let’s say that you keep on thinking that you shouldn’t write because you have nothing to say. You need to turn that thought around and replace it with a different thought. You can acknowledge the thought, but then replace it. Tell yourself that you have lots to say. In a previous post: Coming up with Story Ideas I talked about how living in the world means you have something to say.

Or maybe you think that you write badly, so you shouldn’t be doing it. Again, it’s okay to acknowledge the thought, but then you can either ask yourself why you think you write badly. Why do you think that? Is it really true, has someone told you that? Or, are you concerned that you don’t have great grammar? Or do you think your descriptions are not great? Whatever it is, you can work on it. Writing is a craft. It’s not something that you can or can’t do. You just have to study, hone your craft, take the time to read and learn and take in new information.

Positive Feedback

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What if you are just feeling negative/down/upset because you submitted to like 14 different literary journals and the ones you’ve heard back from rejected you. You think the story is good, and it has merit. Or, at least, you did until you got all the rejections. It’s okay to reach out and ask for POSITIVE feedback from a friend. I typically would say not to let anyone who loves you give your feedback. But, in times like these, when you are feeling like you just can’t take another rejection, when you are doubting your whole life. Have a supportive friend tell you how awesome you are. It’s best if you find that one friend who is always sunshine and rainbows, and they can tell you how much they think you rock. Moms are totally acceptable in these scenarios.

Maybe you can’t turn off the voice telling you that you aren’t good enough. Maybe you can’t stop yourself from having a lot of other priorities above your writing. But you can form healthy habits that allow you to have some time each day to write, you can turn those negative thoughts around, look at them and respond to them with positive counter-thoughts. You can take some time for self-care, even if it is taking a half an hour to hammer out a quick post on your blog.

Thanks for reading!

Grammar: Passive v. Active Voice

Most elements of grammar are fairly easy to understand. If you are a native English speaker, you have been drilled on pretty much everything from the time you started to write. One thing that requires a little more thought, or maybe, re-training, is the active and passive voice in writing. Without further ado, we discuss passive v. active voice.

Passive v. Active Voice

Passive

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Passive voice is either when the thing being acted on is at the end of the sentence, or is unknown. A passive voice sentence example is:

  • The milk was spilled. Or
  • The milk was spilled by Charlie.

Passive voice gets what I would call “guff.” However, a lot of the time in academic settings, you will find yourself with a requirement to write an essay or paper without coloring it with a view. You will be asked (or maybe have been asked) to present facts and ideas, but not show those facts and ideas as your own. In these areas, and also writing articles that are journalistic in nature, it is important to take the actor out of the action, so to speak. Maybe it’s for reasons of anonymity, or maybe it’s so that the writing can speak for itself. Either of these reasons would cause the writer of the piece to choose to use a more passive voice.

Active

When using an active voice, the person or people doing the action are at the beginning of the sentence. An example of active voice would be:

  • Charlie spilled the milk.
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This is the type of writing that writers are constantly told to use. In fact, even in writing a blog post, I have a plugin that tells me when I use too much passive voice. I personally think that passive voice can be used with great effect. You could even show a character coming into themselves, simply by thinking passively, and then actively. For example, if at the beginning of the story, they always put themselves at the very end. But, then by the end, they thought of themselves first. That change in voice, could be used to great effect, subtle, but great. The reader may not catch on at first, but they would get it. Even subconsciously.

At the end of the day, passive voice = actor at the end, action in the beginning, active voice = actor in the beginning, action at the end. Easy enough to remember. Keep track of what you are using, or even just be aware of it when you are editing.

Thanks for reading this post about passive v. active voice.

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Plot:Character Arc

Recently, I realized while writing my current WIP, one of my main characters had an issue with their arc. After discussing it with a friend, I thought it may be a good subject to write about. Not only the issue at hand, but also how do we make character arcs that are compelling? Read on for more information about character arc, how to write it, why it’s important, and what kind of impact it has on the plot.

Character Arc

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What is it?

The character arc is the inner journey that the main character or characters go through over the course of the story. Usually, there is some important trait that the character(s) need to develop in order for the plot to resolve itself. For example: in A Christmas Carol the main character goes from being an old miser, who wants only to keep all of his money, to being a generous person. His inner journey is that arc. It walks hand-in-glove with the plot, all the elements that are happening on the outside.

How do you make one?

How do you make your character arc? Essentially, the first thing is to envision what you want the character to be at the end of the story. Do you want them to learn a lesson about being a better fighter? Do you want them to learn that it’s not good to be a bully? Whatever the story is that you are telling, you need to think about what you want the character to learn, and then you work from there. If you want your character to be harder than they were at the beginning, then make sure that they are soft when the story begins. If you want them to learn about kindness, then they need to be unkind.

How does this work into Plot?

It is, and it isn’t the plot, if that makes sense. The plot is the thing that the story lives on. The skeleton, or the roadmap, or whatever you want to call it. The character arc is the meat that goes on the bones, kind of, or the way that the story becomes believable, or maybe the way that the reader is able to suspend their disbelief long enough for the story to take place. The character arc is written into many plot points. There are moments where the character is able to learn a new skill. Or do something they failed at before. Those moments not only require that the character is at the right location at the right time, but that they have gone through enough mental growth that the moments are possible.

Character Arc Image
Character Arc Image

I don’t think I have one, do I need one?

Probably. Most stories involve some kind of personal growth. Even if that growth is learning a new skill (like going from being a down-on-their-luck paper pusher to being a CIA agent, or something). It is still mental and physical change, of some kind. Learning a skill will take not only practice, but also confidence building, and probably encouragement from someone the character admires. However, I will put a caveat here: there are some stories that don’t have a character arc, really long series’ like Janet Evanovich’s Stephanie Plum novels. In these, the character doesn’t change much over the course of a single novel; simply because the reader expects that they will be getting into the same kind of antics during the course of the next one. Because of that expectation, we cannot have the character change and get their life together every single novel, just to have it fall apart again.

Character Arc Conclusion

At the end of the day, when you make a character arc, the trick is to think about where you want your main character(s) to end up. Then, think about what kind of story you are telling. Where can those two things meet? If you want to write a horror story, and you want to end up with a character who has learned that it doesn’t pay to be a bully; maybe you start out with your characters as camp counselors, and your main character is making the younger kids feel bad. Maybe there is one in particular they are picking on. Then, the horror starts, and the main character has to take care of the kids and make sure they are okay, and the main character’s arc is getting the kid that he made fun of to trust him, so that he will survive the ordeal.

Even though I am what you would call a pantser or a discovery writer. These things, if you want them to come out right, they do take planning. You either plan before, or you change everything during a rewriter when you figure out it didn’t work.

Plot Archetypes

Now that I’ve gone over the different plot structures here, here, here and here; I want to talk about types of plots. They say that there are only seven plots out there. That those seven plot archetypes can encapsulate all literature, and every story ever written.

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The seven plot archetypes are:

  1. Overcoming the Monster
  2. Rags to Riches
  3. The Quest
  4. Voyage and Return
  5. Comedy
  6. Tragedy
  7. Rebirth

Let’s go ahead and look at each of the archetypes in detail and what kind of story you would tell while using it.

Plot Archetypes

Overcoming the Monster

This one would be used when you have a character who has an issue that needs to be resolved internally. Maybe they are an addict, and the story is about their journey to sobriety. Another, more literal interpretation could be a fantasy story where someone is captured by some kind of monster, and they have to either befriend or defeat the monster in some way. The Princess Bride definitely has this plot type.

Rags to Riches

Easy enough to figure out this story. A poor person finds success. I would say that we see this one more commonly, where someone in the first exposition has everything; then they lose it, and they have to gain it again from nothing. Cinderella would be an example, although in more modern re-tellings Cinderella does get to gain her good fortune back, in the old fairy tales, she just waited for rescue in a more passive role.

The Quest

Our characters have to do something. There are usually pretty high stakes in these types of tales, it’s important to get the baby to the person because the world may end. The most modern example of this I can think of is Disney’s Onward. Which is, of course, a movie. A book that has a quest plot is really any fantasy book you pick up. The Way of Kings has some questing, Words of Radiance as well. Any story where the characters need to find something, and the stakes are high would qualify.

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Voyage and Return

This is The Hero’s Journey. The characters go on a journey, and then they return home. The journey could be far reaching, it could take them into a whole other dimension–like in The Lion, the Witch and The Wardrobe, or across the universe like in: The Hitchhikers Guide to the Galaxy. The most popular example of this archetype is, I think, The Lord of the Rings.

Comedy and Tragedy

As they say, comedy ends with a wedding and tragedy, a funeral. When I think of these two types, I think of Shakespeare. There are so many examples of both in his works. The comedies normally revolved around a mistaken identity, while the tragedies dealt with all kinds of heavy subjects. A lot can be learned by studying the bard’s works.

Rebirth

The character is born anew. The Hunger Games books do this, do a degree. The Katniss we meet at the beginning of book one, and the Katniss that we end the last book with, are very different people. Although, whether that is due to her own inner thought processes, or simple PTSD is left up to the reader/audience to decide.

The Plot Archetypes are a mix and match bag of tricks for the writer to use. Use a Quest and a Comedy, or a Rebirth and a Tragedy. It’s important to know what kind of story that you are writing. One part of knowing that, is to understand what kinds of stories are out there. The only way to understand what exists in the world is to study it. I know it sounds boring, but it is important to know what you are doing.

Thank you for reading my post about plot archetypes, please let me know if you would like to see more of this kind of thing, or if you would like to know something else.

Grammar Lesson #3: Verbs

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Verbs are action words. Verbs also describe abstract concepts. There are different modifications: mood and tenses among others. Let’s look at these first two closely in Grammar Lesson #3: Verbs.

Mood

A verb has five moods. They are: the infinite, indicative, subjunctive, potential, and the imperative.

  • The infinite mood expresses the verb in an unlimited manner, without number or person.
  • The indicative mood indicates or declares a thing, or asks a question.
  • The subjunctive mood expresses the verb in a conditional, doubtful, or contingent manner.
  • The potential mood expresses the verb as power, liberty, possibility or necessity.
  • The imperative mood expresses the verb as commanding, exhorting, entreating or permitting.

Tenses

I think it’s no surprise that there are three tenses, past, present and future. We go into more detail here:

Present Tense

  • Simple present tense expresses what now exists, what is normal, or correlated to the senses.
  • Present continuous tense expresses what is temporary.
  • Present perfect tense expresses what has taken place, within some period of time not yet fully past.
  • Present perfect continuous tense expresses something that started in the past. But isn’t yet finished.

Past Tense

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  • Simple past tense expresses that which took place fully in the past.
  • Past continuous tense expresses that which was taking place, then suddenly something else occurred.
  • Past perfect tense expresses something that happened some time ago, when something else happened as well.
  • Past perfect continuous tense expresses something that happened before and was still going on, when something else occurred.

Future Tense

  • Simple future tense expresses something that will take place in the future.
  • Future continuous tense expresses something that will be taking place at a certain time in the future.
  • Future perfect tense expresses something that will have taken place at a certain time in the future.
  • Future perfect continuous tense expresses something that will continue up until a certain point in the future, and then it will be finished.

So that is a lot of really heavy stuff. There’s actually a lot more to do with verbs. The thing to remember is that, you probably already know it. Learning about the things, and what they mean, is also good. Knowing why you feel a sentence is worded wrong is important. Thank you for reading my grammar lesson, verbs.

Warbreaker Book Review

If you are a reader of contemporary fantasy, you’ve heard of the author Brandon Sanderson. Whether you’re a fan of his work, is a different story. I have recently finished one of his standalone novels, Warbreaker, and I would like to discuss it. Here is my Warbreaker book review.

Warbreaker Book Review

Worldbuilding

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The highlight of Sanderson’s work is always the worldbuilding. If you are a lover of fantasy, this is always a major component of the work. The audience of fantasy has certain expectations that they will step into a new world, alien from our own, and that want to be completely immersed in it. Sanderson does this better than almost any other author I’ve read. He always takes religion, commerce, trade, etc. and he weaves them into the story so that the reader understands the tapestry that the characters are build upon.

If we think of our story as if it’s a rug; then, Sanderson uses all of the browns and tans to weave the background into a rich landscape–with some greens and blues really making the entire thing a rich piece. And then, he takes the main characters and makes them bright colors (relevant due to the story I’m reviewing) that we want to see, but the whole picture is fascinating too. Essentially, what I am saying, is that Sanderson is successful at world building because he not only makes us care about the characters, he also makes us fascinated in the world.

Characters

Sanderson’s books are not character studies. They are books where there is action. Think Epic battles, in some of them there are literally world altering events and battles where everything changes. These are not books where you can figure out how to imitate the quiet psychological horror a woman feels when she realizes that she’s being stalked, or something. However, that is not to say that the characters are not interesting.

Having read several of his books, I do feel like he has some archetypes that he likes to go back to, for his characters. Which is totally fine, he is a really fast writer and the characters he likes to draw on more than one time, they tend to be background characters. Personally, I don’t feel like Sanderson is the author to emulate if you are a writer who is looking to write a book that takes place in one location and is mostly in a person’s head.

Plotting

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Sanderson has a lot of ideas about plot that are more complicated than I’ve discussed. Although I have discussed that basic plot structure, which doesn’t really vary all that much–I mean really, we begin, see our main character living their life, something happens, the hero doesn’t want to change, then they have to change, a bunch of trial and error happens, and then the big action scene happens where they finally are triumphant, and then the story ends. There are a bunch of different things that happen in the middle, depending on what kind of plot you are following.

Sanderson has a LOT of thoughts about plot. He has a tendency to notice a “heist” plot, and then want to mix it with a “romance” plot or an “overthrow the government” plot. I find it interesting that he labels everything like that. I suppose that they are all plots, but I think of the plot as the structure, and then the story itself is the meat. But, it can all be the plot.

Review

As far as the actual review of the story. Warbreaker is an interesting concept, and it is well-written. The plot of the story has more romance elements than other stories of his that I’ve read. This story is one about a girl who is unexpectedly ripped from her home, and has to adapt to a new culture. It’s also about sisters, and kind of about zombies, in a very small way.

For an aspiring writer, if you are looking to write in the fantasy space, all of Sanderson’s writing is important to study. Not as important as like Anne McCaffrey or J.R.R. Tolkien, maybe, but still important. Also, he is an author that engages with his fan-base, and he also puts a bunch of writing advice out. Sanderson, as a person, is admirable. He seems to be a genuine person who wants to give others a hand up. Also, Warbreaker is available for free on his website for download.

I also want to mention, that you can view differing versions of the book on his website, so like you can view his process and how it got to be the polished end product.

The Hero’s Journey

The Hero’s Journey is the first plot type that I looked at when it first occurred to me that there was such a thing. I think it may have been the first one that appeared when I began a search. I feel like this plot type ends up in so many places, because it is so easy to recognize. Once I read about it, I immediately thought of Lord of the Rings. Joseph Campbell wrote a book called The Hero with a Thousand Faces. This book goes through all the stages of this plot type. Without further ado, here are the seventeen stages:

The Hero’s Journey: Stages

The Hero’s Journey

1. The Call to Adventure

As we’ve seen with Plotting: Freytag’s Pyramid, Plotting: The Three-Act-Structure, and Save the Cat Story Structure plots have a tendency to begin with a “day in the life,” The Hero’s Journey is no exception. Our hero starts out living their normal life, and then something happens, changes, or someone invites them to do something that starts them on their journey.

2. Refusal of the Call

This is also a typical moment. The hero doesn’t want to go on an adventure. They want to keep on living their life, but there are reasons that they cannot say no, or other forces that keep them from saying no.

3. Supernatural Aid

The hero receives some kind of otherworldly help in the beginning of their journey.

4. The Crossing of the First Threshold

This is where they take their first steps into the new world. They really begin their journey at this point.

5. Belly of the Whale

This stage represents the final separation of the hero from their known world and self. The hero is showing their willingness to fully immerse themselves in the unknown and change themselves for the better. The hero may have a minor setback at this stage, or some other struggle where they lose something.

6. The Road of Trials

The hero experiences a series of trials, usually in threes; before he is able to move forward in their journey. These are fluid and ambiguous. They will lose some and have to keep moving forward and gaining confidence in order to move successfully through the story.

7. Meeting with the Goddess

The hero meets someone who provides them with something that will help them later on.

8. Woman as the Temptress

Despite the poor name for this stage; essentially it’s about something that the hero wants, but shouldn’t have. It’s really about the differences between what should be and what is.

9. Atonement with the Father/Abyss

The point of the story that everything has been moving toward. This is a confrontation with an entity that holds the power of both life and death within it. The hero has to trust in the figure that they will be able to confront whatever it is they need to confront, and come out on the other end better/unscathed, etc. The thing given by the other figure earlier in the story will be helpful at this point. The two figures should be mirror images of one another.

10. Apotheosis

The hero reaches a greater understanding. They have learned the lesson that they needed to learn.

11. The Ultimate Boon

The goal of the quest was achieved. Whatever the hero set out to do, was done.

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13. The Refusal of the Return

Having found success in the other world, the hero does not want to return to the ordinary world.

14. The Magic Flight

The hero may have to run with the boon, if they have angered the gods, or have made them jealous by winning it.

15. Rescue from Without

Just as they needed aids and helpers to begin their journey, the hero may need help getting back to the ordinary world. This is particularly true if they were wounded or weakened.

16. The Crossing of the Return Threshold

This one seems a bit overly complicated. The hero, not only needs to return to regular life. But, they also need to retain the wisdom they gained on their journey. And they need to share that wisdom with the people around them. That’s a little hard to fit into the last chapters of your novel.

17. Master of Two Worlds

In the end, the hero will be a master of both their inner and outer worlds. They will be happy in both.

So, those are the stages of The Hero’s Journey. Joseph Campbell’s book on the subject was published in 1949, so you will forgive a lot of outdated phrasing. However, you can easily see how any adventure story can fit into the stages. Campbell studies a lot of myths from a lot of different cultures to come up with the ways in which we tell stories across cultures.

This information is always good to know as a teller of tales, because, no matter what kind of stories you want to weave; you are adding to the tapestry of your own culture. You are putting your own mark in your way, making your own folklore if you will. Adding your own voice to the many that have come before you. And it matters. Allow your voice to be heard, remember that the way you see the world is important, your views are important. Your way telling of Beauty and the Beast or that incident that happened a couple of years ago that’s now family legend; it’s yours, and it’s important. I suppose that’s a post for another day though.

Writing Habit, Time Management and Life

When I first decided to do a blog, I got into the habit of writing a post a day. That’s good, but then what about the writing of my current WIP? I got to the point where I was writing for my blog(s) and not doing the more creative writing that I went to school for, the writing that I find to be very important. The question became, how do you use your new writing habit, take up time management, and still have a life? I will discuss what I have done.

Photo by Steve Johnson

Writing Habit

In a previous post about habit-formation, found here: The Habit of Writing, I discuss how it’s important not to try to change everything all at once, and also how good it is to start small. I want to add to that idea and say that it’s also a good idea to prioritize.

Prioritize

I have recently learned that by trying to make sure that I’m posting every day, the more urgent–or creative–or whatever you want to call it–writing got pushed to the back burner, which is not where I want it to be. Because I knew that I wanted to be doing more writing for my novel, I had to re-think which kind of writing I was doing first.

Now, my writing life looks like 1-write AT LEAST X words for my WIP. I have an alert set to let me know when I have written enough. Then, and only then will I move on to post on one of my blogs. The next thing I have changed is to only post on one of the blogs a day. I have two of them. The first one is the actual website (this one) and the other one is a wordpress site, which I have continued to make content for even though I have a website that doesn’t have the .wordpress.com in the name. But, you know, whatever.

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Time Management

The time management piece of this whole thing is that I have begun to use a calendar to show me what kind of time I have. What little pieces of time I can use throughout the day. I was hoping, when I started looking at blocking time out on a calendar, that I was less busy than I though, that isn’t exactly true, not if I want to do a good job, be the kind of employee that continues to be gainfully employed, but, at least I know now. I still end up doing writing at night mostly.

There are many ways to use the calendar method for blocking out time. You can plan to do focused work in the morning before you get busy, and I could, in theory wake up and do some writing before anyone in my house gets up. And, actually I used this method when I had only one child. My second one is a bit of an early bird and has a tendency to want to ‘help’ with everything, so that probably won’t work. But, it is a thought.

Conclusion

The ideas here are: 1-begin to block your time-out on a calendar, if you start to feel like you don’t have any time to write. Find those little pockets of time that you do have, and identify the blocks that will actually work for you to write. 2-Prioritize your writing life. If you find yourself working on several projects. Some of which are taking up a lot of time, but are not as high priority to you. Then, put the one that is the highest priority above the others. Only work on your other, lower-priority projects once you’ve reached a certain goal on the highest priority project. 3- Finally, keep your writing goals within reach. As with habit formation, make sure that you are taking baby steps before you are trying to sprint. Walk before you run, if you will.

Thank you for reading…this was my post about writing habit, time management and life. Feel free to share your tips for solving these writerly problems.

Tension and Conflict in Writing: What is the difference?

Tension and conflict are the heart of a story. Both are important tools to use, it is necessary to a successful story that the tension raises throughout the tale. The tension needs to pull the reader/audience along, it keeps them turning pages. While the conflict of the story, does the same thing, but in a different way. We will talk about these two important pieces of story. Tension and conflict in writing.

Tension and Conflict in Writing

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Tension

Tension is the feeling that something bad is going to happen. That feeling of something around the corner. This is used in a lot of different ways, we up the tension between characters, sometimes it’s two people who don’t get along that well; sometimes it’s sexual tension. Other times, the tension is a feeling of things about to fall apart. The plan, so carefully constructed, isn’t going to work at all. Maybe, if your story is of the thriller or horror variety, the tension is the killer/monster getting closer, while the protagonist remains in the dark.

The tension in the story should draw tighter and tighter, before releasing, and then it should do it again. You should have several moments in the story where tension is released, and then it builds back up, before crescendoing during the climax, and finally breaking once and for all during the resolution

Conflict

Photo by Yan Krukov

Conflict, while easier to understand, can also be easy to misunderstand. Conflict is not always an argument or a fight. It can simply be a moment where the character has two things that clash with each other. Maybe they have two goals; but if they reach one, the other is hindered. That itself would create conflict in the story.

Conflict can also be direct, the protagonist and the antagonist, a fight or even a war, depending on the story. But, think about everyday life. There are lots of things that are in conflict with each other all the time. You have little arguments with your spouse/child/brother/sister/mother/father/the weird lady at the service counter. You have issues in traffic, or you have conflicting opinions in your own mind. All of these things feed into the story. Every step of the way, you should have tension that raises, and conflicts that need to be resolved.

Every story needs to have both tension and conflict in writing. Hopefully this article gave a little clarification on what that means, and how to apply to your own writing. Thank you for reading, let me know if you would like more of the same types of posts, or different ones.

Rough Draft Completed, What’s Next?

You’ve done it, all blood, sweat and tears have coalesced into the story that is (mostly) completed and told. Now, you’re wondering what to do now? What are the next steps to take in order to make your story shine and become its best self. Below, I will discuss those next steps, what to do after completing a rough draft.

Photo by Anni Roenkae

I have previously spoken about editing and rewriting. These are both important steps to take after you have finished your rough draft. However, today I’d like to talk about two other important steps to take after finishing a draft, these are letting it rest, and finding a beta (or even alpha) reader or readers.

Let it Rest

This step is only valid if you don’t have any deadlines. This works if you are a person who hasn’t yet been published, read: a person who hasn’t broken into the field by being traditionally published, or independently publishing your own work somewhere, meaning you don’t have anyone that is looking forward to your work. It sounds a lot simpler than it ends up being. The idea is to put your workaway for a while. My suggestion, work on something else. For me, there is always a new idea waiting in the wings. Take the time after you have finished your rough draft, but before you pull it out again, to start outlining a new project.

Edit and Rewrite

Of course, the middle step is to edit and rewrite until you can’t stand to look at it anymore. Since I’ve already talked about these steps before, I am not going to into a ton of detail here.

Photo by Edoardo Tommasini

Alpha and Beta-readers

After you have taken the story to the point where you can’t get it any more polished. It’s time to bring on outside readers. Alpha readers are people that you trust to look over your story and give you advice while you are in the rough draft stage. So, these are people who understand that the story is either incomplete or barely complete, and will forgive typos and plot holes. They are the people that you can go to who will get excited about the story’s potential, and who will help you make it better in the beginning stages.

Beta readers are the next phase, they are the people who will help you take the story to a level you could not take it to on your own. These are people who will be able to catch the things that you are unable to catch yourself, simply because you are too close to the story.

A word on both of these types of readers, DO NOT ASK FAMILY to do this. ASK FRIENDS with caution. You do not want to have people looking at your work who are close to you, personally. You want an outside eye. Not only that, but you want the type of reader who knows your genre, not a reader who thinks it’s great that you finished the novel. It is not helpful to have mom, whose so impressed by you, read it and tell you it’s lovely. That gets you exactly nowhere. You need a person who can tell you if they see the twist coming a mile away, or a person who can tell you when the story is boring; those kinds of things are helpful.

Thank you for reading! Let me know if you would like articles about different types of things, or more of this.