the everything creative writing book pdf

ebook ∣ All you need to know to write novels, plays, short stories, screenplays, poems, articles, or blogs · Everything

By wendy burt-thomas.

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9781440501524

Wendy Burt-thomas

Adams Media

18 May 2010

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Prepare to write, from planning to research to organization
Properly structure your piece to fit your chosen genre
Stay focused during the drafting and editing processes
Work with other authors
Overcome writer's block

Writing, Research & Publishing Guides

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The Everything Creative Writing Book: All you need to know to write novels, plays, short stories, screenplays, poems, articles, or blogs

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The Everything Creative Writing Book: All you need to know to write novels, plays, short stories, screenplays, poems, articles, or blogs Paperback – June 18, 2010

Prepare to write, from planning to research to organization
Properly structure your piece to fit your chosen genre
Stay focused during the drafting and editing processes
Work with other authors
Overcome writer's block
Market your writing
Print length 320 pages
Language English
Publisher Everything
Publication date June 18, 2010
Dimensions 8 x 0.75 x 9.25 inches
ISBN-10 1440501521
ISBN-13 978-1440501524
See all details

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About the author.

Wendy Burt-Thomas is a writer, editor, PR consultant, and writing coach. She has written hundreds of articles, short stories, poems, reviews, and essays for such varied publications as NYTimes.com, Family Circle, American Fitness, The Writer, WritersDigest.com, Home Cooking, Vermont Ink, and MSNBC.com. Burt-Thomas is the author of several books, including The Writer's Digest Guide to Query Letters, and she has taught "Breaking into Freelance Writing" in the Denver area for more than a decade. She writes the "Ask Wendy--The Query Queen" column for WritersOnTheRise.com, one of Writer's Digest's Top 100 sites for writers.

Product details

Publisher ‏ : ‎ Everything; Updated edition (June 18, 2010)
Language ‏ : ‎ English
Paperback ‏ : ‎ 320 pages
ISBN-10 ‏ : ‎ 1440501521
ISBN-13 ‏ : ‎ 978-1440501524
Item Weight ‏ : ‎ 1.25 pounds
Dimensions ‏ : ‎ 8 x 0.75 x 9.25 inches
#693 in Romance Fiction Writing Reference
#3,596 in Writing Skill Reference (Books)
#5,798 in Fiction Writing Reference (Books)

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The Everything Creative Writing Book

All you need to know to write novels, plays, short stories, screenplays, poems, articles, or blogs.

LIST PRICE $11.99

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About the book.

Prepare to write, from planning to research to organization
Properly structure your piece to fit your chosen genre
Stay focused during the drafting and editing processes
Work with other authors
Overcome writer's block
Market your writing

About The Author

Product details.

Publisher: Everything (May 18, 2010)
Length: 320 pages
ISBN13: 9781440501531

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Elements of Creative Writing

(2 reviews)

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Jeanne Cosmos, Adjunct Faculty, Massachusetts Bay Community College on 7/7/24

Direct language and concrete examples & Case Studies. read more

Comprehensiveness rating: 5 see less

Direct language and concrete examples & Case Studies.

Content Accuracy rating: 5

References to literature and writers- on track.

Relevance/Longevity rating: 5

On point for support to assist writers and creative process.

Clarity rating: 5

Direct language and easy to read.

Consistency rating: 4

First person to third person. Too informal in many areas of the text.

Modularity rating: 5

Units are readily accessible.

Organization/Structure/Flow rating: 5

Process of creative writing and prompts- scaffold areas of learning for students.

Interface rating: 5

No issues found.

Grammatical Errors rating: 5

The book is accurate in this regard.

Cultural Relevance rating: 4

Always could be revised and better.

Yes. Textbook font is not academic and spacing - also not academic. A bit too primary. Suggest- Times New Roman 12- point font & a space plus - Some of the language and examples too informal and the tone of lst person would be more effective if - direct and not so 'chummy' as author references his personal recollections. Not effective.

Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more

Comprehensiveness rating: 4 see less

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.

As far as I can tell, content is accurate, error free and unbiased.

The book is relevant and up-to-date.

The text is clear and easy to understand.

Consistency rating: 5

I would agree that the text is consistent in terms of terminology and framework.

Text is modular, yes, but I would like to see the addition of a section on dramatic writing.

Topics are presented in logical, clear fashion.

Navigation is good.

No grammatical issues that I could see.

Cultural Relevance rating: 3

I'd like to see more diverse creative writing examples.

As I stated above, textbook is good except that it does not include a section on dramatic writing.

Introduction
Chapter One: One Great Way to Write a Short Story
Chapter Two: Plotting
Chapter Three: Counterpointed Plotting
Chapter Four: Show and Tell
Chapter Five: Characterization and Method Writing
Chapter Six: Character and Dialouge
Chapter Seven: Setting, Stillness, and Voice
Chapter Eight: Point of View
Chapter Nine: Learning the Unwritten Rules
Chapter One: A Poetry State of Mind
Chapter Two: The Architecture of a Poem
Chapter Three: Sound
Chapter Four: Inspiration and Risk
Chapter Five: Endings and Beginnings
Chapter Six: Figurative Language
Chapter Seven: Forms, Forms, Forms
Chapter Eight: Go to the Image
Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

Chapter One: Creative Nonfiction and the Essay
Chapter Two: Truth and Memory, Truth in Memory
Chapter Three: Research and History
Chapter Four: Writing Environments
Chapter Five: Notes on Style
Chapter Seven: Imagery and the Senses
Chapter Eight: Writing the Body
Chapter Nine: Forms

Back Matter

Contributors
North American Review Staff

Ancillary Material

University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger is a professor of English at the University of Northern Iowa. He is the author of two books of poems, Saint Joe's Passion and The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of The Necessary Poetics of Atheism . His other work has appeared in Best of Brevity , Best Creative Nonfiction , Notre Dame Review , Poetry East , Prairie Schooner , and elsewhere.

Rachel Morgan is an instructor of English at the University of Northern Iowa. She is the author of the chapbook Honey & Blood , Blood & Honey . Her work is included in the anthology Fracture: Essays, Poems, and Stories on Fracking in American and has appeared in the Journal of American Medical Association , Boulevard , Prairie Schooner , and elsewhere.

Grant Tracey author of three novels in the Hayden Fuller Mysteries ; the chapbook Winsome featuring cab driver Eddie Sands; and the story collection Final Stanzas , is fiction editor of the North American Review and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

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Paperback The Everything Creative Writing Book: All You Need to Know to Write a Novel, Short Story, Screenplay, Poem, or Article Book

ISBN: 1580626475

ISBN13: 9781580626477

The Everything Creative Writing Book: All You Need to Know to Write a Novel, Short Story, Screenplay, Poem, or Article

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This title offers how-to advice on the creative writing process. Separate chapters offer discussions of the different facets of writing children's books, short stories, novels, screenplays, functional... This description may be from another edition of this product.

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Very informative, a writer's dream come true, great creative resource..., wonderful book, popular categories.

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should definitely be significant. Don’t think of writing in terms of sitting down to write a screenplay or complete a 90,000-word novel—it will overwhelm you and you’ll never get started. Think like Peter Robert Fleming, who said, “With the possible exception of the equator, everything begins somewhere.” Just start typing words, even if it’s “I don’t know what to write so I’m just typing.” Take out your outline (aren’t you glad you made one?) and see how you thought the story might start. You can begin a story at any point—at the beginning, in the middle, or at the end—or at any spot that you think will carry the reader right into the story. Wherever you choose to start, it’s a good idea not to dawdle. You may have only a few paragraphs to pique readers’ interest, and though you don’t have to open with a hugely dramatic moment, you want to quickly give readers a sense of the engaging story to come. Write a Lead Sentence If nothing comes to mind, keep thinking about your idea and let your imagination loose. Remember, it doesn’t have to be perfect, it only has to get you going. If nothing continues to come, try freewriting—write anything at all that comes into your head: description, dialogue, phrases, gibberish. Somewhere in the stream of words that pours out will be one that gives you an idea and gets the first sentence on the page. Then you have something to hook the next sentence to. A compelling lead gives your work a strong start that: • Grabs the reader’s attention. • Establishes the tone and the mood. • Sets the conflict or main idea in motion. As you get going, you’ll discover that one idea leads to another, one word to another, and one sentence to another. It’s a matter of connecting the bits and pieces, using your outline as a framework, and seeing what develops. Here are some devices you can use to start your story: • A piece of dialogue • Showing a main character involved in some action • Description of a character or setting • A quotation • A question • An unusual fact • A command or words directed to the reader • A summary of the main idea • An invitation • A definition • Historical background For inspiration, here are a variety of intriguing openings: “It was inevitable: the scent of bitter almonds always reminded him of the fate of unrequited love.” (from Gabriel Garcia Marquez’s Love in the Time of Cholera ) “The weather door of the smoking-room had been left open to the North Atlantic fog, as the big liner rolled and lifted, whistling to warn the fishing- fleet.” (from Rudyard Kipling’s Captains Courageous ) “They’re out there.” (from Ken Kesey’s One Flew Over the Cuckoo’s Nest ) “We were married in secret on September 22, 1981.” (from Susanne Pari’s The Fortune Catcher ) “‘What color is your diet?’ That’s one of the first questions I ask a patient.” (from “The New Eat-by-Color Diet” by Dr. David Heber, in the June 2001 issue of Self magazine) “Through the doorway that led to her receptionist-secretary’s office into her own, Catherine Morris Perry instantly noticed the box on her desk.” (from Tony Hillerman’s Talking God ) “When I started my first company in Boston twenty years ago, I had little interest in business.” (from Paul Hawken’s Growing a Business ) “An action movie usually starts with a fast sequence, something to grab the audience’s attention away from their popcorn and soft drinks and propel them into the story. I’m not saying that all books should be written like Hollywood films, but there is merit in studying how they are constructed.” —Chris Niles, mystery writer “Once upon a time, there was a woman who discovered she had turned into the wrong person.” (from Anne Tyler’s Back When We Were Grownups ) “Harmony is driving home, eastward out of Las Vegas, her spirits high, her head a clutter of memories.” (from Larry McMurtry’s The Desert Rose ) “For forty years my act consisted of one joke. And then she died.” (from George Burns’s Gracie: A Love Story ) “Call me Ishmael.” (from Herman Melville’s Moby Dick ) “The Latin term pro bono, as most attorneys will attest, roughly translated means for boneheads and applies to work done without charge.” (from Sue Grafton’s ‘O’ Is for Outlaw ) “I spent several days and nights in mid-September with an ailing pig and I feel driven to account for this stretch of time, more particularly since the pig died at last, and I lived, and things might easily have gone the other way round and none left to do the accounting.” (from “Death of a Pig,” in E. B. White’s Essays of E. B. White) “‘I should feel sorrier,’ Raymond Horgan says. I wonder at first if he is talking about the eulogy he is going to deliver.” (from Scott Turow’s Presumed Innocent ) “For a long time, Molly Bonner’s strongest reaction to doctors was a fear that they would bore her to death.” (from Alice Adams’s Medicine Men ) “It was breakfast time and everyone was at the table. Father was eating his egg. Mother was eating her egg. Gloria was sitting in a high chair, and eating her egg too. Frances was eating bread and jam.” (from Russell Hoban’s Bread and Jam for Frances ) “Murderers do not usually give their victims notice.” (from P. D. James’s A Certain Justice ) Traveling to the Middle Great job: You’re under way! Now it’s time to tell your story—the story you’ve been wanting to write. The middle is where the main point is developed and the conflict or issues are brought to a head. Continue following your outline, fleshing it out with character development, dialogue, description, information, and action. But remember, the outline is just a guide—be open to any new roads that look promising. It’s like making a movie: All sorts of accidental things will happen after you’ve set up the camera. So you get lucky. Something will happen at the edge of the set and perhaps you start to go with that; you get some footage of that. You come into it accidentally. You set the story in motion, and as you’re watching this thing begins, all these opportunities will show up. —Kurt Vonnegut, novelist Start with the first scene or your first point and try to link it to your opening. If your opening set your travel article in San Diego, and your first stop is the San Diego Zoo, try to visualize the zoo (you made many notes when you were there, took photos, and talked to several visitors, keepers, and monkeys, so you’ve got lots of information to help you), and write about what was so wonderful about being there. Describe the place in vivid, image- making terms, but don’t worry about perfection, just get the gist of it going. Then decide if this is a good time to include the funny conversation you had with a little boy who was spellbound by the giraffes. Try it. You can always move it—or delete it—later. If you’ve already described one of the baby animals cozied up with its parent, you could try moving into the conversation by describing how the boy came up to the giraffe area perched on his father’s shoulders. If you get a good idea but it doesn’t work just where you are, jot it down and see if it fits in later. “A story is like a good party, the opening has much to do with how to get to the location where it’s going on. You first need to know where it is, what part of town.” —Josip Novakovich, author and educator Make connections between your points. Expand on the previous details. If you asked a question, the next step is probably to answer it. Think of all the possibilities. Brainstorm the best way to move ahead (flashing back can be a good way to take the story forward). Keep referring to your outline and think about your main idea. Read over what you’ve written every now and then (don’t fix anything, just read) to aid transitions. Dramatize. Visualize. Follow your instincts. Compare and contrast. Remember to show rather than tell. And keep going even if you don’t know where to go. In fact, many authors advise that you keep going quickly, to get the whole story down in one sitting so you have it all to work with later. If nothing comes to mind in some spots, try coming at them from a different angle or just write gibberish until something develops. You can always come back and fill in a missing piece. The idea now is to get the bulk of the work—rough though it may be—on paper. The time to make it pretty comes later. I write on yellow-lined legal pads. I write diagonally against the lines. . . . My first draft is formless, creative, unconfined by someone else’s rules of how a line should look or where on the page the letters must be spaced. —Sophy Burnham, novelist As you write, try to remember that you’re building toward a climax and a conclusion. If you’re writing fiction, you want conflict to increase. If you’re writing nonfiction, you also want to aim toward resolving or exploring completely the issue you’re discussing. Construct your piece with events or information that are engaging and that join together to advance and build the story. Try It Yourself To practice filling in the middle of a story, try sketching out a middle for these beginning/ending combinations: • Three women set out in a rowboat to do some early morning fishing. When they return, one is huddling in a blanket, her clothing soaked and her eyes blank. • Two elderly neighbors haven’t spoken in years. At the end of the story, they’re having iced tea together in one of the men’s backyards. • A man is searching for ice cream in his freezer. Days later he wakes up in a field hundreds of miles from his house. Reaching the End When a lot of authors start writing, they have no idea how their story is going to end—it becomes clear as the story takes shape. Other writers know only how their story will be resolved and they have to develop the beginning and middle in order to reach the end. (Mystery writer extraordinaire Agatha Christie was one of those. She always wrote the last chapter first so she would know “who done it.”) Whether you start with the end or end with it, the finale of your work should be a satisfying culmination of everything that has preceded it. For the most part, and especially in fiction, the ending isn’t a summary—it’s a resolution. The conflict comes to a head and is then resolved in some way. All endings aren’t happy. Many are very unhappy, and some leave it up to the reader to decide what the outcome really is—a step is taken, but it may or may not lead to happiness. But all strong endings are appropriate and fulfilling. And they’re believable. What Makes a Well-Crafted Ending? The well-crafted ending reflects or highlights the main point or problem that is noted at the beginning. In an article about the headaches of doing laundry on a long trip in a foreign country, you would conclude with how you solved the problem—or tried but failed. In a short story about robots that came to Earth by mistake, you might end with an ingenious way of returning them home, or a scene that solves their problem in one way or another (they might need to remain on Earth disguised as politicians until another robot comes for them). All situations that you’ve introduced during the course of the story need to be addressed at the end. To practice writing endings, try picking a favorite book or a classic children’s story and writing a new ending. For example, the glass slipper fits Cinderella’s foot, but all the years of mistreatment at the hands of her family have made her afraid to trust the prince. Like beginnings, endings can be subtle or sensational, but they need to be effective. They need to feel like an ending, bringing closure yet leaving the reader thinking about what he or she just read and learned. They also should be compact; sometimes it’s hard to know exactly where to end, so you go on a little longer. Luckily, wandering endings can be dealt with when you revise. Writers use several different methods to bring their stories to a close, including: • Simple resolution: A little boy is lost and his dog leads rescuers to him. • Awareness or understanding: A sister realizes that her brother’s drug habit comes from a fear of being alone. • A surprise: The best coffee in town can be found at Michael’s Diner, not The Coffee Place. Because the ending is the last thing the reader reads, you’ll want to pay careful attention to the wording of the final few sentences and paragraphs. Again, this is something that you can perfect when you revise, but keep in mind image and mood as well as the meaning you’re trying to convey. Saying your closing sentences out loud can give you a sense of their impact. Example of a Successful Ending Here’s an example of an ending that resolves a problem, brings understanding, and does it with a surprise. In Elizabeth Berg’s Range of Motion, Elaine’s husband Jay has been in a coma, the result of a freak winter accident, for the length of the novel. After steadfastly refusing to consider he might never wake up, and painfully reminding herself of how great their life had been, Elaine begins to understand that she will have to go on without him. Then he wakes up. Here is the ending of the book, narrated by Elaine: Sometimes when I’m alone in the house I kind of ask for Evie [a ghost Elaine believes spoke to her while Jay was in the hospital] to come back . . . I want to tell her about the day Jay came home, what it was like when he opened the door to his house and walked back in. . . . There was just the slow lifting of his hand to the familiar banister at the foot of the stairs, the glint of the wedding ring that has never left his finger since the day I put it there. I want to say that I understood something at that moment, which was this: the gift is not that I got to bring Jay back. The gift is that I know what I brought him back to, and so does he. . . . Chapter 18. Editing Your first draft is finally done, but it’s not yet time to relax and enjoy your work. The writing process is only halfway over. It’s time for some serious rewriting. This chapter will get you on your way to a final draft that you had in mind. Rewriting Is Important Editing your work can be fun, because here is where you take your raw material and turn it into an exciting, polished piece, the one that you’ve been envisioning and working toward. Editing gives you the opportunity to make all the changes needed to make your writing the best it can be. Nonfiction author and screenwriter Murray Suid likens editing to checking yourself in the mirror before you leave the house. After you get dressed, you see how you look. Uh-oh, your shirt doesn’t work with your pants. You choose another shirt. Is a button missing? You look for a new button and sew it on. Do you look washed out in the outfit? You try on a more colorful ensemble that suits you better. Would adding a little something pull it all together? You put on a necklace or add a power tie. With editing, you search out all of your writing’s imperfections. And if you’ve heeded many authors’ advice, you’ll find plenty of areas to work on because you weren’t aiming for perfection in your first draft. Don’t be intimidated. Think of editing as a kind of treasure hunt for problems where the prize is a big one—a greatly improved piece of writing. How to Start The best way to start editing is . . . to do nothing. (See, this isn’t so hard!) Most likely you’ve just spent a lot of time and energy getting that first draft down on paper, and you’ve done such a good job that you deserve a break. So take one. Put the article or poem or press release away for a while. You’ll probably keep thinking about it, but try not to work on it. By stepping away for a bit, you’ll come back to your piece with a fresh eye and the energy you need to revise. In fact, you may have promised yourself—and can now get—a big, revitalizing reward for getting your first draft completed: lunch with a friend, a walk in the park or at the beach, a day without any household responsibilities. Give yourself—and your writing—a good rest. What to Look For When you’re ready to jump back in, it’s a good idea to begin by reading your draft from start to finish. You may want to make notes or flag areas to work on, but try to look at the piece as a whole, rather than as sections or chapters or stanzas. Read slowly and think about your central idea and what you planned to say. Keep reminding yourself of your original intention. It’s also a good idea to approach the piece as an uninvolved reader might, someone who isn’t familiar with the material and will come to it looking to be informed or entertained in a clear, understandable, and engaging way. “A friend of mine says the first draft is the down draft—you just get it down. The second draft is the up draft—you fix it up. . . . The third draft is the dental draft, where you check every tooth.” —Anne Lamott, novelist and memoirist After a thorough reading, some authors like to start their next draft from the beginning—a complete rewrite. They uncover a great deal of information through careful review and decide to deal with that information by starting over. Many authors, though, work from their draft section by section, improving the original material in more of a step-by-step fashion. Still others rework by concentrating on one element at a time; for example, description, grammar, plot or steps, characters, spelling, and so on. Whichever way feels most comfortable, during the revision process you should be looking for a number of things. It’s often helpful to start with the larger, more general concerns and then work on the details. At the Macro Level Think about your work by taking in “the big picture.” Read for: • Meaning: Do you know what the novel/poem/article is about? Does it say what you want it to say? • Ideas: Do they make sense? Are they logical? Do they support your meaning? Are facts identifiable as facts and opinions as opinions? • Clarity: Are your points clear and focused? Could anything be misunderstood? Are the who, what, when, where, and why readily apparent? Are your sentences so long that they’re confusing? • Consistency: Does the point of view remain the same throughout? Is the style consistent? Have you followed your organizational pattern; for example, are all the key points presented in chronological order? Are your characters always recognizable? Did you start writing in the present tense and then switch to the past? • Conciseness: Have you used too many words when a few, more precise ones would make the work stronger? Do you cover the intended story and no more? Does the beginning actually begin the story, or do you have to read on a ways to get to the start? Does the ending continue on too long, adding nothing but extra words? • Completeness: Have you given the reader everything she needs to know to understand the story? Did you tell it all, or has something been left out? Have you fleshed out areas that you only sketched in your first draft? Have you resolved the main problem or addressed the main point? At the Micro Level Take a look at your writing with an eye to details. Pay attention to: • Wording: Is your language vivid and imaginative? Is there a section that’s boring? Is the dialogue realistic? Do you trip over a word or phrase? If you do, your reader will too. Is the wording precise? For example, would it give your reader a better idea about your character Phil if he snorts or giggles instead of just laughs? Do you show rather than tell? Do you employ rhetorical devices (see Chapter 15) to bring your characters and scenes and information to life? Have you used any sexist or other offensive language? Are there any clichés? Have you used a variety of words, or do you use big every time instead of enormous, vast, or extensive ? • Flow: Does one paragraph lead smoothly and clearly to the next? Is the sequencing logical? Do you need additional bridge material? Is all the interesting stuff in the middle, making the end and the beginning seem tacked on? Does the conflict build? Does every sentence keep the story moving forward? For shorter works, it may help to read the piece out loud to see if you hear the music. • Mechanics: Are all the words spelled correctly? Should there be their or your be you’re ? Is your grammar solid? How about punctuation? Have you capitalized all the proper nouns? Do your sentences run on? Do your paragraphs run on? Do you use quotation marks around quoted material and dialogue? Use your dictionary and a style guide such as The Chicago Manual of Style for help—the spell checker can only do so much. If you’re not confident of your skills here, you can have a professional copy editor or proofreader give your final draft a once-over. Do a Character Check Check to see that your characters act in a consistent way. This is especially important in lengthier writing, such as a novel or a screenplay. If you decide a character doesn’t like dogs, then that character needs to shy away from any dog that trots through your story. If another character is portrayed as supremely moral for three- quarters of the novel, she can’t run off with the milkman for a shocking ending (unless some major event has completely transformed her lifelong way of thinking). In one novel (which will not be named here), a male character has a sudden affair with his new stepmother-in-law after showing nothing but animosity toward her for nearly the entire book. There were no signs leading up to his change toward her; it just suddenly happened, and it made no sense. It was a plot device that changed the course of the story, but it wasn’t true to either character. That’s a surefire way to turn off your readers! “I begin with . . . the main characters and draw a line from the beginning to the end of the screenplay to see what has occurred with each. . . . Once you see the progression, you can pinch here and tuck there.” —Christopher Keane, screenwriter and teacher To review, characters should be: • Believable • Intriguing • Out of the ordinary • Consistent • Not stereotypes • Not overdone • Three-dimensional Make Your Changes A careful reading of your material has probably produced a number of areas that can use some work. This is a good thing! Now, using the notes you made, start revising. Keep thinking like a reader, making changes that will provide even more clarity, appeal, and punch. Shorten. Expand. Add detail. Find the precise word. Reroute the plot. Correct the spelling. Use a different organizational pattern. Don’t be afraid to change things; trust yourself when you decide that your story really should be told by Nate rather than Matt. Often, a second draft is almost nothing like the first draft. Be fearless. Be creative. Be Ruthless A big problem for many writers is that they fall in love with a certain sentence or paragraph or character or format, and during editing realize that it just doesn’t work for the story. But they can’t bring themselves to cross it out. It’s too perfect. It took so long to craft. If you make major changes during editing or begin again, be certain to save all your original work. Just because you’re not using it now doesn’t mean you won’t use all or some of it later on. Words, phrases, or ideas may come in handy at another time. Save everything! Sorry, but you’ve got to start deleting. As wonderful as it might be, if it doesn’t work with the story, it simply can’t be there. Summon up your courage. Besides, you don’t have to throw those words in the trash. Save them for another article or story; if they’re that important to you, you might even build a story around them. And until you get to that next project, why not pin the lines up where you can see them? They’ll remind you of how creative and excellent a writer you can be. Now, Do It Again At this point, you’ve improved your writing enormously. Reward yourself with another break. Then, read the material again, still thinking like a new-to-it reader, still looking for “treasure” at both the macro and micro levels. Most likely, you’ll come up with several issues you feel still aren’t quite right. Note them, think about how to resolve them, and work on them. And keep on reading and revising until you’re satisfied that what you’ve created is the best it can be. This can take a while, so try not to be discouraged: it’s said that author Raymond Carver revised his drafts twenty to thirty times and that Dylan Thomas rewrote one of his poems seventy-one times. When asked if he did a lot of rewriting, Ernest Hemingway said, “It depends. I rewrote the ending to Farewell to Arms, the last page of it, thirty-nine times before I was satisfied.” Which brings up one more point: seventy-one revisions may have been right for Dylan Thomas, but four may be right for you. It is possible to get so caught up in revising that you forget you need to stop at some point and say it’s finished. Edit until you’re happy with what you’ve done and until you think you’ve made real the vision you started out with. Then save your work, print it out, and turn off the computer. Chapter 19. Evaluating Well, you did it. You came up with a great idea, you developed it, and you polished it. You created a written work that expresses your ideas and your feelings in a way that only you could do. You saw it through, even when you thought you couldn’t. So, what’s the next step? Assess Your Achievement You’re probably thinking, “What else could there be to do?” You’ve completed your project. You’ve successfully written your memoir or travel article or poem. But there is another step. Whether or not you decide to have your work published, it’s a good idea to get some feedback. Having your work evaluated—by yourself and others—may seem an unnecessary part of the writing process. On the contrary, investing time in this step will reward you with valuable insights, encouragement, and direction. Send Your Baby out into the World Now that your work is more or less polished, you should be ready for another pair of eyes to read your story. Seeking the comments of a caring, impartial critic whose opinion you respect can help to improve it. Choose one person or a few people whose opinion you respect and who will be honest or choose a professional editor who will be completely objective. Ask for feedback. This can be scary—someone is going to be assessing your darling —but try to remember that it will add to your knowledge and, if it can improve your writing, then it’s a good thing. It can hurt—deeply—when someone finds fault with your writing. But the purpose of getting feedback is to help you produce the best work possible A momentary pain can lead to a long-lasting feeling of achievement. When receiving feedback, it’s crucial to remember that your work— and not your personality or self—is being evaluated. It’s also important not to get defensive; you won’t hear the criticism that’s being offered if you’re always defending your work, and that means you can’t benefit from it. If you’ve chosen the right people to ask for comments, the criticism you hear will be intended to help, not hurt. And while you should certainly take the reviewers’ comments seriously, keep in mind that you don’t have to act on the feedback you get if you don’t agree with it. This is still your work, and your opinion is the key one. However, if you have several readers review your work and they all say there’s a problem with the plot or that a flashback is confusing or that your argument just doesn’t prove your thesis, then you should probably take their criticism to heart. Screenwriters have a special way of getting feedback. Because screenplays are meant to be read by actors, screenwriters organize a group of friends or colleagues to read the different parts aloud at a table reading. Such a “performance” is critical to polishing a script. If you want, you can ask your reviewers to check out the kinds of things you looked for when you were editing: spelling, flow, typos, and grammar. Mostly, you want to know their answers to the big-picture questions. Jotting down these questions ahead of time will help you get answers to the main issues you’re interested in. For example: • Does the story make sense? • Is the message they got the one you intended? • Did the sequencing make sense? • Did they learn something or enjoy the story? Was it interesting? Believable? • Are there any weak spots? • Is the writing clear? • Is it ready to send to a publisher or to be self-published? If you have particular concerns, it’s probably a good idea to write them down or discuss them so your reader can be on the lookout for them. Specific questions might look something like these: • Does the metaphor on page 6 sound overly dramatic? • Does the character Seth sound believable in the dialogue on page 35? • Does the car accident on page 40 work as an effective and sufficiently dramatic plot point? You can put together an informal questionnaire to guide readers in their review, or get together to discuss their thoughts after they’ve completed the reading. The more specific you are, the better your reader will understand what you’re looking for. In addition to reading a story, some reviewers enjoy assessing a piece of writing by hearing it read aloud. Hearing the words can add to reviewers’ overall sense of the piece and better enable them to assess its rhythm, tone, and clarity. Ask anyone who reviews your work for as much information as he can give you: reactions, concerns, general and specific suggestions, strengths and weaknesses, what could use some work, and what they enjoyed (positive feedback is valuable, too!). Assure your reader that you’re looking for explicit comments, both pro and con, and not to be afraid to be honest. Learning about weak spots will enable you to improve them. What should I do if I agree with a negative evaluation? Use what you find out to revise, or put the work away and start in on something new. Just don’t beat yourself up; everything you learn will increase your chances for success the next time around. Once you have these answers, sit down and really study them. Try not to get defensive, but rather concentrate on deciding if they’ll improve your work. If they will, turn the computer back on and start revising. If you truly feel they won’t, put them away and stay with your final version. Look Back in Order to Look Ahead In addition to evaluating the written work you’ve created and having others review it, it’s also helpful if you sit back and evaluate the entire process you’ve just been through. You’ve put time, energy, imagination, and emotion into a deeply involving and possibly brand-new experience, and giving yourself a chance to think about it can tell you a lot. You can evaluate your experience in several ways. One is to think about the writing process. • Did you enjoy it? Are you looking forward to doing it again? • Would you follow the exact same route for your next project? Would you spend more time in some areas, like research for example? • Would you be sure you had the ending to your mystery firmly in your mind before you started writing another one? • Would you make a detailed outline by grouping together index cards, instead of just making sketchy notes? • Did the project make you realize you need to brush up on your grammar and punctuation skills? • Was interviewing people surprisingly enjoyable? • Would you be able to exercise your writing muscles more by writing for a young-adult rather than an early-reader audience? • What were the best parts of the process? The hardest? • What would you never do again during the development of other stories? Another thing to think about is genre. • Are you happy with the type of work you produced? • Is the poem you penned wonderfully satisfying, even though its core idea could have been explored more fully in a short story? • Do you feel you’ve gotten to understand the way a strong memoir is put together, and are you now ready to try something completely different, say, a screenplay? • Did doing all that exciting research interest you in writing a nonfiction article next rather than another fiction piece? What Are Your Goals? The goal for many authors is to complete a piece of writing, one that expresses something important to them and does it in a satisfying way. They write for themselves, not an audience. They may share their work with a writers’ group or with close friends or family members, but basically they write to fulfill a personal need. Other authors write with the goal of having their work published. They create works of fiction or nonfiction from a deep desire to do so, but they believe that the final step of the writing process is to share their words with others, and that these words don’t reach their full potential until they are out in the world. Consider Publishing Reflect on the following questions: • Have you written your piece to satisfy a personal need or interest, and are you content just knowing that you completed it? • Or, after thinking about all the creative effort you put into it, and your excellent results, do you think you want to share your thoughts and words with others? • If you do want to publish, are you ready to begin the process of looking for a publisher or self-publishing your work? • If you’re going to self-publish, do you need to learn about page design, typesetting, and marketing? If you decide you want to publish your work, be sure your manuscript is in top-notch shape. That means neatly typed, double-spaced, no typos or spelling or punctuation mistakes, no coffee stains, and numbered pages. Make a backup copy and keep it in a safe place. If you think it might be difficult to hire an agent or find a publisher, or you’d rather keep complete control of your work rather than put it into the hands of someone who may not do everything to your liking, self-publishing may be your route to a wide audience. Self-publishing, or independent publishing, keeps the author in the driver’s seat. When you publish your own work, you decide on the design, the content, the art, the cover, the paper, the size, the amount of money that goes into it. You also keep all the money from sales, rather than just the royalties. And, just as importantly, all rights to the book belong to you. Self-publishing is not the same thing as vanity press publishing. A vanity press will charge you to publish your book, an unnecessary expense now that technology has made it so much easier and less costly to publish your own work. The down side? While you keep all the money the book brings in, you also pay all the expenses for producing it. And, just as important, self-publishing takes an enormous amount of work. Independent publisher Ken Rudin thinks of independent publishing as a cottage industry—nearly a full-time business. Self- publishers are in charge of everything: the design, editing, proofreading, layout, artwork, printing, binding, warehousing, distribution, advertising, and promotion of their book. Moving Forward By reflecting on all the aspects of the writing process, you’ll learn a lot about what you’ve experienced and also about what you want to do next. Because, very likely, you’re going to want to do this again. Maybe not in the exact same way, and maybe not in the same genre, but I’m willing to bet that now that you’ve successfully completed a creative work, the urge to keep writing is not going to go away. Some authors evaluate again after their work has been published, and then revise their story. Author Tim O’Brien revised his published short story “Ghost Soldiers” into a chapter in a later work, The Things They Carried. He realized that the story could work in a different way, and changed it. So think about the process you’ve been through, and use what you’ve learned to move ahead. Looking back and evaluating will help prevent you from repeating missteps, guide you to new and more enjoyable ways of working, and strengthen your writing skills. And most importantly, you’ll gain the confidence to go forward—just look at what you’ve accomplished! Chapter 20. Overcoming Writer’s Block As with anything important you work at—your nine-to-five job, sports, parenting, relationships, caring for your garden and your home—you’re going to have good writing days and bad writing days. This chapter will help you deal with the bad days each writer faces sooner or later. When Your Creative Juices Aren’t Flowing Some days there will be so many ideas bubbling in your brain that it will be all you can do to make it to your writing time and get them down on paper. The words will pour out like French champagne into crystal. You’ll be humming and smiling—creative writing is the best! On other days, it won’t be as easy. Still, the energy is there, and though you sigh a bit and pace a bit, the words come. You get something good down, or maybe you spend time revising and are pleased with the pages you put a shine on. You’re productive and you’re satisfied. This writing life is okay. “In the creative state a man is taken out of himself. He lets down as it were a bucket into his subconscious, and draws up something which is beyond his reach. He mixes this thing with his normal experiences, and out of the mixture he makes a work of art.” —E. M. Forster But sooner or later a day arrives when nothing comes, and you find yourself sitting there staring at your fingers, wondering what you’ve done wrong or thinking you really should be cleaning the litter box. The blank computer screen waits expectantly, but you have nothing to tell it. Not a word. Or a horrible word that you immediately erase. It’s writer’s block, and it’s got you in its grasp. It can last a short time or be interminable; some writers never recover from it, and give up and find a new activity. But that’s not going to happen to you. Almost all authors have at some time gone through a period of being blocked, and most have found techniques that let them break through the wall. Causes of Writer’s Block Whenever you get stuck, try to determine what’s really blocking you. The causes might be emotional, physical, or literary. Once you diagnose the problem, you can figure out how to overcome it. Fear of Failure Just about every writer suffers at some point from a bad case of nerves. I’m not good enough, you think. I can’t possibly do this well. Who am I to think I have anything important to say? Even while you’re loving what you’re doing, and occasionally seem to put a few decent words together, you’re certain that you can’t possibly measure up to your own or to others’ expectations. You think, why bother to write anything when it will never make the grade? Fear of Success The flip side of fear of failure is fear of success. Things are rolling along, and you’re feeling pretty good about your writing. But what happens when you finish your play or your poem? You’re going to have to send it out into the world and editors and readers might enjoy it! Then you’ll have to write something else. There will be new decisions to make, new commitments, and new challenges to face. If your work does very well, you might even have to give an interview or speak in front of an audience. It all makes you wonder if you shouldn’t just stop right now and avoid all those new problems. Lack of Concentration The dog just threw up. You have to leave in twenty minutes to take your kid to the orthodontist. Your mother-in-law is arriving this weekend for an indeterminate stay. Your boss has been looking at you funny for a few weeks. Another of your tech stocks just tanked. You have a big exam coming up. The world is too much in your head, but you promised yourself you were going to write every day. So you close the door and sit down…and can’t think of a word to write. “Sometimes . . . agony visits the head of a writer. At these moments, I stop writing and relax with a coffee at my favorite restaurant, knowing that words can be changed, rethought, fiddled with, and, of course, ultimately denied.” —Steve Martin, author and comedian Lack of Energy Like all the things that can distract you, feeling less than your best can contribute to writer’s block. Maybe you’re coming down with the flu, or you’ve just gotten over a cold. Maybe you’re worried about . . . well, any number of things, and you were up all night. Maybe it’s crunch time at school or the office, and you’ve been putting in many more hours than usual. You hurt your knee skiing. You’re depressed about losing out on a promotion, or shaken from a run- in with a driver with road rage. You’ve been revising your article all day and still aren’t satisfied. Just about any physical or mental stressor can block the creative flow, for a few hours or much longer. Lack of Down Time Everything’s been going well. You came up with a great idea, you did your research, and you wrote a rough but decent first draft. Then, without taking a break, you jumped right in to start shaping and polishing, and you’re stumped. You can’t imagine where all your excitement went, all your energy. You begin to doubt everything you’ve done. What in the world were you thinking? Lack of Material The idea came so easily, and you know it’s a topic that will appeal to a broad range of readers. You were pretty familiar with the subject, so you didn’t spend much time on research. Now it seems the idea wasn’t so great after all; there’s really not much to write about. You’ve sketched out a couple of pages, but nothing more comes. To help prevent writer’s block, end each day’s writing in the middle of something that’s working well. When you start up again, you can continue with that section and have its momentum keep you rolling. If you complete a section, make yourself a note about what comes next. A Problem with the Story You know where you’re going but you can’t seem to get there. The conflict isn’t developing properly. Your character seems one-dimensional. The drama just isn’t there. When you first came up with the idea, you saw the story very clearly. There really wasn’t a need to do any planning or make an outline, because it was obvious what should happen. Now that you’re in it, though, you can’t make anything work. The whole project has bogged down. You’re Trying to Fix the Wrong Problem You can’t understand it. You developed your story point by point, and now you can’t write the ending. Everything should have led up to a dynamite conclusion, but you’re stymied. Is it possible you took a wrong step earlier? No, it’s just that you’re tired or having a bad day, isn’t it? Dealing with the Problem The first thing to remember when coping with writer’s block is to not make yourself crazy. The second thing is to trust that this is not a permanent condition. Something is going to get you writing again—unless deep down you have decided that you never want to write again. What should I do if the story doesn’t interest me anymore? Unless it’s an assignment with a deadline, set it aside for a while so you can revisit it down the road. Work on something else for a day, a month, or even a year. If the topic no longer excites you, there’s no passion to drive you. When you first realize that every word count is producing the same number, don’t panic. It may be just a short-lived thing, and getting up and stretching or getting something cold to drink will get you back in the groove. But if you’ve done ten sets of exercises and drunk ten glasses of water without effect, it may be time for some stronger measures. If You Are Stuck Reread from the start and find the last paragraph that you think is a good one. Start again there (don’t delete everything from that point forward, just move it out of the way; you may want to rework it at a later point). Build your story by hooking on to something promising. Unlike many people, I have no fear of writing, I have a facility for putting words on paper. Not writing scares me more! But if I find myself stuck on a project, I jump to something else. I always have several activities going at once. Also, the thesaurus is one of my favorite tools. I’ll write something simply, and then jazz it up in a later draft. —Annalisa McMorrow, business writer and novelist Or try adding a new scene, a new character, a new point. If you’re stuck on what you’ve got, creating a new element may be the way to get the whole thing rolling again. The energy of the new feature may send your work in a different direction, and carry you along with it. Take a whole new tack with the project. Change voice, point of view, tense, even genre. Or narrow or widen the focus. Maybe the idea is right but the approach is wrong. Experiment and see what works. When author Tom Wolfe tried to write a magazine article about custom cars, he was blocked. The editor suggested Wolfe type up his notes for someone else to write. While typing, “something [began] to happen,” and his notes turned into a forty-nine-page story that became The Kandy-Kolored Tangerine- Flake Streamlined Baby. If none of these strategies work, show your work to an outside reader. Explain that you’re bogged down, and ask for help in pinpointing the problem. Is the story making sense? Is it interesting? What can be done to add drama? What would be a logical next step? Brainstorm possibilities. Even if you don’t think any of the suggestions are helpful, just talking about the piece may make it more real in your mind and you’ll come up with an idea that breaks the block. Remember, you don’t have to go this alone. If You Lost the Energy Take a major break. Shut off the computer, or put your pen back in the drawer. Get up and walk away—for the rest of the day, for a few days, or even longer. Try taking a complete vacation from what you’re working on. You may be so wrapped up in it, or so tired from all the hours you’ve put into it, that you’re simply overloaded. Giving yourself a rest, and coming back fresh, may be all that’s needed to restart your engine. If you are reluctant to take a break, at least take a break from writing and instead work on another part of the project. Edit what you’ve written so far or look up additional material; lack of enough to work with may be holding you back. Or go out and do the interview you’ve been putting off. You’ll be giving yourself a break from word production, but still moving ahead. If You Are Stressed If you are pressed for time, try to concentrate on how much you’ve already accomplished. Reread what you’ve got so far, and congratulate yourself on how far you’ve come. If you’ve come this far, you can go farther. A big project can easily overwhelm a writer. Break up your work into sections. If you’re writing a 5,000-word short story, work on the project in 1,000-word increments. The thought of having to write 1,000 words is less intimidating than having to write 5,000 words. Take care of any nonwriting-related problems that may be bothering you. If you’re worried about a presentation at work, don’t try to write until you’ve made it. If you need to do your taxes by next Friday, sit down with the forms now. Anything that’s putting pressure on you can put a halt to the creative flow. Maybe the lack of deadlines stresses you out. Go ahead and assign yourself a deadline. Tell yourself that you have to finish the piece in three days, or whatever seems reasonable. The pressure of a deadline worked in high school and college—maybe it will work again now. Doctors recommend exercise to relieve stress, so if you are stressed about writing, get up from your desk and head for the gym or the park. At least a half hour of walking, running, jumping rope, swimming, or whatever you like to do will do you good. Exercise can relieve pent-up anxiety, plus it may tire you out enough to get a good night’s sleep revive you for a better day’s work tomorrow. A Change of Scenery Move your writing location, time, or tools. Most of the time you may need to be in your comfortable chair at your familiar computer with dog at your feet to write well. But shaking up your routine may wake up your creativity. If you always write in the kitchen, try the living room. If you always write from six to eight in the morning, experiment with creating later in the day. Take your laptop or a notebook to the local coffee place. Move outdoors, or to the library or a bookstore. If you always work at the computer, see what writing longhand produces. Give yourself some visual stimuli. Look at photographs, artwork, magazines, or gardens. The colors, textures, and subject matter may be just what’s needed to unlock your artistic gates. If the new scenery can’t fire up your creativity, maybe a new project will, so start all over. I know this sounds awful, but if you try a number of fixes and nothing seems to help, maybe the problem is that the piece is simply unworkable. It happens. But don’t look at it as the end of the world. Put the work away, and start looking for a new idea. Comfort yourself by remembering that the time wasn’t wasted. Everything you write, even stories that you never complete, adds to your knowledge and exercises your imagination. Additional Strategies If nothing else works, try the following strategies. Who knows what might work! • Write for ten minutes. Even if you can’t think of a thing to say, set the timer for ten minutes and write something until the bell rings. Just writing “blah, blah, blah” over and over may put your mind back in writing mode. • Eat. Your lack of imagination may be the result of a lack of food. Engines can’t run without burning gas; you can’t run without breakfast, lunch, and dinner. • Decide on a way to reward yourself when you complete the project. If the treat is good enough, it will serve as an incentive to get back in gear. • If you’re writing for pay, remind yourself that if you don’t finish, you won’t get that check. And you won’t get another assignment. A glance at your bill pile couldn’t hurt either. • Read some writing that really excites you. Reminding yourself how the greats do it may help you to uncover the problems in your own work that are holding you back. • Talk to other writers. Ask how they solve the problem or for any techniques they know about it. Even if something didn’t work for them, it might help you. Be patient. If one start-up technique doesn’t work, give yourself a break and then try something different. If you get a few sentences down and then have more trouble, don’t force yourself to keep going, just try again tomorrow. It may take a little while, but keep telling yourself you’ll eventually get back to writing. And you will. Make it a point to learn new words. Words are the ingredients of the dishes you serve up, and the wider your vocabulary, the more scrumptious your meals will be. Read widely. Look up words you don’t know in the dictionary. Play word games and solve word puzzles. Sometimes it can take much longer than a few hours or a few days before you’re ready to start back in on a piece that’s been blocking you. Some authors have set aside work for years before they found the inspiration to complete it. Chapter 21. Working with Others Writing can be a lonely occupation. Idea generating and research may take you out into the world, but most of the time it will be just you and your computer. It’s important to leave your corner from time to time for the assistance and the camaraderie of other writers. Collaboration Playwright and author Moss Hart saw collaboration between writers as a “protest against the unalterable fate of being alone.” If you’re working on a small project, this may not be practical. But for something larger, especially a piece of writing that involves a good deal of research, it may benefit you to seek out another writer to work with. Collaboration enables writers to pool talents and to share resources, skills, and legwork. It also doubles (or triples) time available for a project and provides an immediate source of feedback and evaluation. If you collaborate, there are two (or more) heads to address problems and come up with solutions. If you’re thinking of ditching for the day, you’re more likely to decide to do your share. And by collaborating, there’s always someone to complain to, laugh and celebrate with, and count on who understands your work inside and out. With a writing partner, you’re not alone. Writers can collaborate in many different ways. Some work together crafting each sentence. Some evenly distribute the responsibilities: One does the research; one does the writing. Or both take part in every phase but work on separate chapters or scenes. Sometimes writers will brainstorm ideas, and then one will write a first draft for the other to revise and refine. Whichever route you choose, try to use each person’s talents in the best way possible and find a system that makes you both happy. Working together can lighten the load and enrich the writing experience, but trying to collaborate with four or more writers can become unwieldy. It’s more likely you’ll have a successful “marriage” as a twosome or, at the most, a threesome. If you’ve never collaborated before, it may take some getting used to. It will definitely help if the writers have compatible personalities and work habits, and complement each other’s skills. It’s also important that you respect each other and listen to each other. Before you get under way, set aside some time to map out how the process will work. You can always make changes as needed, but setting up a system can help you determine and agree on your goals. Here are some issues to take care of first: • Make a list of all the work involved, and then divvy it up. Include such jobs as library and online research, interviews, word processing, editing, proofreading, keeping track of costs/budgeting, safeguarding notes and other materials, and submitting work to potential publishers. • Decide how you will share any profits and expenses. • Decide how you will settle the inevitable disagreements—find a middle ground or agree not to go forward with something unless both partners are happy with it—and more important, how you’ll work to prevent serious problems—with respect, fairness, honesty, and humor. • Decide when and where you’ll work (collaboration can be done over the Internet, but it’s generally better to meet face-to-face). • Determine if you want a written rather than a verbal agreement that covers all aspects of the collaboration. • Work out a deadline schedule. • Decide whether you’ll write under both of your names or come up with a different one. Collaborating with another writer can be a great way to learn and improve your skills. Remember, though, that it is also a way to lessen isolation and pressure and share your love of writing. Make time to talk about writing and other interests as well as about your project. Take your work to a café or go out to lunch together. Work hard, but work on encouraging and supporting each other, too. “When one is at a low point . . . the very presence in the room of another human being, even though he too may be sunk in the same state of gloom, very often gives that dash of valor to the spirit that allows confidence to return and work to resume.” —Moss Hart, playwright Winning Teams The following list includes novelists, screenplay writers, and songwriters who succeeded through collaboration. Some, like Charles Dickens, are writers in their own right, while others have established lengthy collaborative efforts that span their writing careers. • Wilkie Collins, the nineteenth-century author of The Moonstone and The Woman in White, and renowned writer Charles Dickens, author of Great Expectations and Oliver Twist. Literary collaborators and traveling companions, they penned The Lazy Tour of Two Idle Apprentices. • Julius Epstein and Philip Epstein. Twin brothers, the Epsteins worked together on the screenplays of several movie classics, including Arsenic and Old Lace, The Brothers Karamazov, and Casablanca. • Edith Anna Oenone Somerville, a nineteenth-century Irish author, artist, and suffragist, and Violet Florence Martin, Somerville’s cousin who wrote under the pseudonym Martin Ross. Together the women collaborated on a series of humorous novels about the rural Irish gentry. Their most important literary achievements were The Real Charlotte, in which the two main characters are cousins, and Some Experiences of an Irish R. M., which was adapted for television in 1983. • Edmond-Louis-Antoine Huot de Goncourt and Jules-Alfred Huot de Goncourt. Known as les deux Goncourt, these French brothers authored a number of well-known novels of the naturalist school, including Mme. Gervaisais and Soeur Philomène, and a study entitled The Woman of the Eighteenth Century. After Jules’s death, Edmond continued writing under both names because he felt that he and Jules were still communicating. • Charles Nordhoff and James Norman Hall cowrote Mutiny on the Bounty. Nordhoff met Hall in 1916, and the two soon wrote a book about their World War I flying unit, the Lafayette Flying Corps. When they received an advance from Harper’s to write travel articles, they moved to Tahiti, where they coauthored three very successful novels about the H.M.S. Bounty. They later collaborated on six other books. Charles Nordhoff and James Norman Hall, who cowrote Mutiny on the Bounty , used both names but needed to determine which would come first. They decided on “Nordhoff and Hall” because Hall thought it was more effective to end a sentence or anything else with a “short, crisp word.” • Frederic Dannay and Manfred B. Lee. Using the name Ellery Queen, these cousins cowrote a large number of popular mysteries, including The Hollywood Murders and The Tragedy of Errors and Others. They also developed the idea for Ellery Queen’s Mystery Magazine, which Dannay edited from 1941 to 1982. • Lowell Ganz, Babaloo Mandel, and Bruce Jay Friedman. A dynamic collaborative team, these writers developed the screenplay for Splash, the highly successful 1984 comedy about a mermaid who falls in love with a New Yorker starring Tom Hanks and Daryl Hannah. • Moss Hart and George Kaufman. A prolific and critically acclaimed writing duo, Hart and Kaufman wrote six plays together, including The Man Who Came to Dinner and You Can’t Take It with You, which won the Pulitzer Prize in 1937. • John Lennon and Paul McCartney. Known the world over, this extraordinary half of the Beatles wrote some of the most well-loved and revolutionary songs of the twentieth century, including “Norwegian Wood.” A friend of theirs, Hunter Davis, remarked that “Now and again, they’d write whole songs individually, but mostly one of them had half a song and the other one would finish it off.” Bestselling collaborators Val Corbett and Joyce Hopkirk, who write as Val Hopkirk and have coauthored six novels, say they’ve learned to criticize each other’s ideas constructively. If they disagree, they don’t make vomiting sounds; instead, they say, “Yeess, that’s one way forward but . . . what about if we . . . .” Joining a Writers’ Group Having another writer provide feedback on your work is an important first step in putting that work in front of an audience. It also gives you access to the assistance and fellowship of another author. To expand your audience, as well as to learn from and enjoy the company of other wordsmiths, you may want to consider joining a writers’ group. Many authors, from those whose books climb the bestseller lists to those just starting out, find the tips, constructive criticism, brainstorming possibilities, contacts, friendships, and encouragement available in writing groups to be essential to their writing process. Hosting guest speakers at your writers’ group can be a great way to learn and network. Consider inviting a literary agent, published author or tax preparer to share advice and possibly pick up new clients or readers. To make the experience enjoyable as well as valuable, look for a group that will meet your needs. If you write in a specific genre, hooking up with a group of similarly directed authors is probably best. If you’re primarily interested in getting and giving feedback, you may want to join a group that spends all of its meeting time critiquing work. If you’re also looking for a social element or want to learn about publishing or the business end of writing, a group that invites speakers or holds an after-meeting social time may be more to your liking. There are also accountability groups, which don’t necessarily critique work but rather hold you to your writing timelines and goals. Some writing groups also meet to spend their time writing, often with fun, impromptu exercises to spark your creative side. Think about what you want out of a group before you start interviewing. That’s right—interviewing. Unless you start your own group, which you certainly can do, any group you contact will most likely ask you to show them samples of your work and attend a meeting. This will benefit both parties. The writers in the club will be able to assess the level of your writing and also see the kind of criticism and experience you’d contribute. When interviewing writers’ groups, look for peers who are knowledgeable, kind, honest, and who love language. Be sure you’ll enjoy spending time with the members and that they’ll offer both support and useful information. By interviewing, you’ll have the opportunity to determine if you’ll be comfortable in the group and with the level of the members’ writing and expertise. You’ll also get a chance to see the kind of help they might offer. Aim to join a group whose writing is more advanced than your own. In that way you’ll learn the most, and be inspired to reach a higher level. A Group of Critics All writers’ groups don’t function in the same way. In some, every member brings something to read or discuss—a chapter, an outline, an idea, a completed article or story, a troublesome paragraph. In others, the group focuses on a different member’s material or questions each time they meet. Some groups meet weekly, some monthly, some when a member needs help. But all groups meet to support members and to provide a critical ear that will help improve their work. Just as you would ask one outside reader for specific comments, do the same with the group. Explain exactly what you want help with, or the information you need. Read your material aloud clearly; you may also want to hand out copies of the work for the members to follow. Listen carefully to all comments, and try not to be upset by negative feedback. Focus on the work. If you continually leave meetings feeling beaten up and depressed, you’re probably in the wrong group. Negative feedback can be helpful if it’s presented carefully and constructively. But if members trash your work and don’t offer helpful advice, look for a new group with a more positive approach. When it’s your turn to critique another member’s writing, put yourself in her shoes. Criticize the work, not the writer. Give your full attention to the material. Make notes if that will help you convey your thoughts. And keep in mind that your role is to help improve the material. If you have something negative to say, begin with something positive. Relay the criticism as gently as you can while still making the point. Mention both strengths and weaknesses. And try to offer suggestions for improvement when you find flaws. “This section confused me” doesn’t help the author. “This section confused me; I think I would understand it better if you add a flashback that reveals why Irene would act this way” offers useful information. Finding a Group If you think you might benefit from joining a compatible writing group, the next step is to locate one. There are a number of ways to go about this. • Word of mouth is always the best. Friends who are writers, or who know other writers, may be able to tell you about groups to contact. • Your local bookstore may post information on writing groups in the area or may sponsor its own group. Likewise, the local library may be home to a group of writers. • Other organizations that sometimes host writing groups or can direct you in the right direction include YWCAs or YMCAs, city recreational departments, adult education centers, or civic groups. • If your newspaper has a daily or weekly book section, you could contact the paper to see if they have information about groups. • Writing conferences and workshops can be excellent sources of leads. • The Internet can also connect writers in remote locations, or act as a help line, though meeting face-to-face is ideal. Also, there are two great websites that often list local groups by location and interest: www.meetup.com and www.craigslist.org . If you don’t find an existing group to meet your needs, consider starting one yourself and posting it on one of these sites. Taking a Writing Class or Attending a Workshop If the ongoing meetings of a writing group don’t suit your schedule, you can still make contact with other writers by taking classes or going to the occasional workshop, seminar, conference, or retreat. Classes and workshops cost money, but they’ll most likely be worth every penny if they’re slanted to your genre and address your concerns. Thinking about starting your own writers’ group? Ask your library or bookstore if they’ll post something in their newsletters or allow you to hang flyers on their bulletin boards. Writing classes can provide you with both the fellowship and the feedback of your classmates, plus access to the experience and insights of the instructor. Classes—on creative writing, writing mechanics, and the business of writing— are most likely available through your local high school or college. Many classes are also offered through adult education centers and writers’ organizations. Retail stores, too, can be a resource for instruction. For example, a travel store in my area offers occasional travel writing classes taught by experts. Travel agencies are another potential source: Classes and workshops are now given on cruise ships and in numerous ports of call as part of vacation/education packages. Classes are also given through cultural centers, and sometimes through art centers such as museums and galleries. Another major source is the Internet, where numerous websites offer a huge variety of courses. (Check Appendix B for information on workshops, classes, and writing-related websites.) The Writers’ Connection One of the highlights of attending a writers’ workshop or conference is the opportunity to meet and learn from successful authors. Not only will you be inspired, but you may have the opportunity to have your work critiqued by an expert. Some workshops offer one-on-one sessions with instructors or provide small-group coaching or feedback opportunities. Workshop follow-ups may also be possible, through online communication or a series of classes. Because workshops are usually just a day or a weekend long, you’ll want to immerse yourself in the experience and make the most of every minute. Another big plus of workshops is the chance to hang out with other authors. Often there are breaks between sessions that allow attendees to get together informally and share concerns and successes. “Talking shop” with other lovers of the language may turn you on to new techniques and resources and fire up your creativity. And the writers you meet may turn into lifelong friends. Writers’ colonies offer longer-term writing experiences. The intention is to provide writers with quiet, comfortable surroundings while they work on a project for a weekend, a month or longer. Because so many different types of writing workshops are available, spend some time researching what’s out there. Aim for a workshop that: • Suits your focus and goal. • Offers small classes. • Features a respected, experienced author or instructor. • Offers consultation with the keynote speaker or instructor. • Provides an open, nonthreatening forum for learning. To find out about upcoming conferences and workshops in your area, check notices in your local library or bookstore. ShawGuides.com lists writing conferences and retreats around the world. Writing magazines such as The Writer and Writer’s Digest (see Appendix B for publishing information) also notify readers of programs each month. When you learn about several that sound interesting, write or e-mail for additional information and registration materials. Chapter 22. Getting Published If you would like your work to be published, it’s time to gear up for the business of getting it into print. That’s right: business. To make it happen, you will need to put in a huge amount of work—as well as have determination, patience, and, in some cases, luck.

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