2022 07 01Writer27sDigest

BONUS INTERVIEW WITH SLOANE CROSLEY | KEEP YOUR
CREATIVE FLOW
WRITERS HELPING WRITERS SINCE 1920
At a
Crossroads
Best Advice for
MAKING TOUGH
CAREER DECISIONS
Are You in the WRONG
WRITING GROUP?
Rethinking
THE VERB TO BE
7 Tips to REV A
STALLING STORY
JULIE NOVAK-
MCSWEENEY,
WINNER OF THE
16th ANNUAL WD
POETRY AWARDS
W D I N T E RV I E W
JULY/AUGUST 2022
WritersDigest.com
Silvia Moreno-Garcia
THE NYT-BESTSELLING AUTHOR OF
MEXICAN GOTHIC SHARES HER APPROACH
TO CREATING THE WORLD AND
CHARACTERS OF HER NEWEST NOVEL
C LO S I N G
K EY N OTE SP E A KE R
WRITER’S DIGEST
ANNUAL
CONFERENCE
TIFFANY D. JACKSON
Tiffany D. Jackson is the NYT-bestselling, award-winning
author of YA novels Monday’s Not Coming, Allegedly, Let
Me Hear a Rhyme, Grown, White Smoke, Santa in the City,
and co-author of Blackout. A Coretta Scott King—John
Steptoe New Talent Award-winner and the NAACP Image
Award-nominee, she received her bachelor of arts in film
from Howard University and has over a decade of TV/Film
experience.
JULY 28-31, 2022
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FE ATU RES
At a
Crossroads
45
28 11 Writing-Career
The Tyranny of the Verb Crossroads
To Be Writers will face numerous career-altering
decisions during their writing lives. Here’s one
Writers are often told to remove passive verbs author’s advice for navigating those choices.
from their writing. Tobias S. Buckell considers the BY ELIZABETH SIMS
history of that advice and why careful attention to
passive verbs can be rewarding.
BY TOBIAS S. BUCKELL 50
So You Want to Quit Your
34 Day Job
7 Tips to Rev a Stalling Writing frequently starts as a second job or
Story hobby for many authors, but with planning and
preparation, you can create a game plan to write
When you’ve hit a writing rut but the outline isn’t full-time.
helping, try one of these tricks for pushing your BY WHITNEY HILL
characters to their limits and giving your draft a
COVER PHOTO © MARTIN DEE IMAGES © GETTY IMAGES: FRANCESCOCH
clear direction.
BY PETER MOUNTFORD ON THE COVER
0 8 Bonus Interview With Sloane Crosley
40 4 0 Keep Your Creative FLOW

4 5 Best Advice for Making Tough Career
Find Your Creative FLOW Decisions

2 2 Are You in the Wrong Writing Group?
How do writers find the sometimes elusive “flow” 2 8 Rethinking the Verb To Be
they often talk about? Gabriela Pereira of DIY 3 4 7 Tips to Rev a Stalling Story
MFA has a framework for finding and maintaining 6 0 Julie Novak-McSweeney, Winner of the 16th
creative flow, no matter your goals. Annual WD Poetry Awards
BY GABRIELA PEREIRA 5 4 WD Interview: Silvia Moreno-Garcia
J ULY/AUGUS T | VOLU ME 102 | NO. 4
IN K WE L L
8 I THINK THIS IS REAL: Author and essayist Sloane

Crosley talks about her new novel, Cult Classic,
writing with humor, and the tangled romance
of friendship.
BY CARTEN CORDELL
10 PLUS: Worth a Thousand Words • The Necessity of
Professionalism • Poetic Asides • 5-Minute Memoir
C OL U M N S
18 INDIELAB: Creating Your Story Frame

BY MATTY DALRYMPLE
21 INDIE AUTHOR SPOTLIGHT: Nikesha
Elise Williams
BY AMY JONES
2 2 WD 101: How Do You Know You’re in the Wrong
Writing Group?
BY AIGNER LOREN WILSON
54
THE WD INTERVIEW:
TERVIEW:
2 4 WRITERS ON WRITING: Kirthana Ramisetti
2 5 MEET THE AGENT: Liz Parker • Verve Talent
& Literary
BY KARA GEBHART UHL
Silvia Moreno-Garcia 2 6 BREAKING IN: Debut Author Spotlight
The bestselling author of Mexican Gothic shares BY MORIAH RICHARD
her approach to world-building, character 6 2 YOUR STORY: Facilitating Progress #115

6 8 FUNNY YOU SHOULD ASK: What happens if my
development, and what she’s learned about the
agent leaves the industry?
business of writing.
BY BARBARA POELLE
BY AMY JONES
7 0 ALL ABOUT THE PITCH: Modern Farmer
BY ESTELLE ERASMUS
60 7 2 PUBLISHING INSIGHTS: The Biggest Surprises and

Learning Moments of the Publishing Process
Time, That Gentleman BY ROBERT LEE BREWER
74 LEVEL UP YOUR WRITING (LIFE): Managing Point
Caller of View (Part 3 of 3): The Distance of Time
BY SHARON SHORT
Julie Novak-McSweeney, winner of the 16th Annual
Writer’s Digest Poetry Awards, shares the story 76 BUILDING BETTER WORLDS: Some Thoughts on
Designing Cities
behind her winning poem, “The Old Ones.”
BY MORIAH RICHARD
BY ROBERT LEE BREWER
7 8 FOR ALL AGES: Tips for Writing Captivating
Historical Middle-Grade Fiction
MFA WO RK B O OK BY EDEN ROYCE
8 0 CONFERENCE SCENE: Taylor University’s
6 5 5 LESSONS FICTION WRITERS CAN LEARN Professional Writers’ Conference; Catamaran
FROM PLAY WRITING Writing Conference; Preparing for the New Normal
BY KIM LOUISE BY KRISTY STEVENSON
PLUS: 4 From Our Readers 5 Editor’s Letter 6 Contributors 8 8 Potpourri for the Pen
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WritersDigest.com I 3
FROMOURREADERS
WD posed the question to
readers on our website: “What
has been the most pivotal
moment in your writing life thus
far?” Readers responded:
“… I was an English minor in college and continued to

write afterward, but at a diminishing pace ’til ‘real life’
brought it almost to a standstill. Then in 1999, an epiph-
any came in an unexpected form: an arrangement of three
ripe red tomatoes on the white countertop in my kitchen.
I was inspired to write about the image, and suddenly, the
floodgates opened, and I began to write poetry at a furi-
ous pace as if to make up for lost time.”
—Bruce Niedt
“The most pivotal moment for me was at the Austin
International Poetry Festival a couple of years ago. I
“The pivotal moment in my writing career came the signed up for a ‘City Read’ (the festival’s spin on an open
morning my place of employment shut down. The mic) … I could see and even feel the listeners engaging
closure presented an opportunity to write full-time. I in the rhythm, rhyme, wordplay, and philosophical
opened a 2,000-word work in progress and wrote 10,000 nuance I had tried to build into my work. I heard
words each month until I completed the manuscript. chuckles, saw nods, and received sincere applause at
The suspense novel won two awards (including a first- the end of each poem. … The audience reaction in
place tie).” the bookstore that day … that’s probably the biggest
—Steve Rush motivator I have to keep on writing.”
—gpr crane
“I was energized … because of my ancestor James

Cowles Prichard. His book titled Researches Into the “… Early on, I read a magazine interview with the St.
Physical History of Man went through multiple editions Louis band Foxing. One of the vocalists said, ‘Even if we
… I wanted to energize students to find jobs that they fall short, the attempt is the important part.’ That quote
PHOTO © GETTY IMAGES: SAWITREE PAMEE / EYEEM
liked and where they could have an impact, so I wrote was music to my ears. I scribbled it on a scrap piece of
a column for six years. … which led to my writing two lined paper and hung it up in my writing area. So regard-
novels and one nonfiction book with the hope of having less of my anxiety, uncertainty, and lots of rejection, I
the kind of positive impact that my ancestor had in 1815.” keep on writing.”
—Peter Prichard —Glenda Ferguson
Watch our blog (WritersDigest.com/resources/write-for-us) for the next question we ask, and answer for a chance to be
included in a future issue of Writer’s Digest!
4 I WRITER’S DIGEST I July/August 2022

EDITOR’SLETTER
AN ACTIVE INTEREST MEDIA PUBLICATION
EDITOR-IN-CHIEF
Amy Jones
SENIOR EDITOR
A Turning Point
Robert Lee Brewer Though I knew I wanted to work for Writer’s
MANAGING EDITOR
Digest by my third year of college, I can think
Moriah Richard of no fewer than four crossroads on my path
EDITORS
to actually achieving that goal. They involve: a
Sadie Dean Great Recession, more schooling for lack of job
Michael Woodson
opportunities, an unfortunate foray into teach-
ART DIRECTOR ing, and at least two company bankruptcies
Wendy Dunning
(surely I’m not the common denominator …).
EDITORS-AT-LARGE A different choice or a different stroke of luck at
Tyler Moss
Jessica Strawser
any one of those crossroads could have led me
down a drastically different path.
CONTRIBUTING EDITORS
Jane K. Cleland, David Corbett, What I notice about that list is most of the crossroads sound like negatives.
Bob Eckstein, Jane Friedman, And that’s often how we perceive them as they’re (usually) forced on us. But
Steven James, Barbara Poelle,
Elizabeth Sims, Jeff Somers,
when it comes down to it, I learned a skill or a mindset at each one of those
Kristy Stevenson, Kara Gebhart Uhl, turns without which I wouldn’t be writing this letter. I see that now in hindsight,
Don Vaughan
and although those weren’t fun times, I’m grateful for the experiences.
MARKETING DESIGNER Chances are you’ve had a few crossroads in your writing life too, whether
Samantha Weyer
in the career/business side or in the act of choosing what to write. Perhaps
COMPETITIONS MANAGER you, like many people in this weird time, are experiencing a crossroads right
Tara Johnson
now—recognizing new priorities, setting new boundaries, identifying new
VP GENERAL MANAGER goals. This issue aims to help you navigate those choices.
Taylor Sferra
Elizabeth Sims offers advice about how to navigate 10 different crossroads
you might encounter in your writing journey, and Whitney Hill homes in on
WRITER’S DIGEST
what might be the biggest of those—is it time to quit your day job to focus on
EDITORIAL OFFICES
writing? Gabriela Pereira shares her system for finding and maintaining your
4665 Malsbary Road
Blue Ash, Ohio 45242 creative flow, and Peter Mountford explains several ways to drive your story
[email protected] forward if you or your characters are stuck. In his article “The Tyranny of the
Verb To Be,” Tobias S. Buckell has written a brilliant think-piece about the
BACK ISSUES passive voice and what role it can play in your writing.
Digital back issues are available for We could think of no better writer for the WD Interview for this issue
purchase at WritersDigestShop.com.
than Silvia Moreno-Garcia. She’s the author of bestselling books such as Gods
of Jade and Shadow, Mexican Gothic, Velvet Was the Night, and now, The
CUSTOMER SERVICE Daughter of Doctor Moreau. Not only do her books exist at the intersections
P.O. Box 842, Des Moines, IA 50304-0842 of multiple genres and topics, her own publishing experience does as well,
[email protected]
or call: (800) 333-0133 having included self-publishing, small press publishing, and traditional
publishing with a Big 5 publisher. We talk about all of that and more.
PRIVACY STATEMENT
Finally, this issue celebrates Julie Novak-McSweeney, winner of the 16th
Active Interest Media HoldCo, Inc. is
Annual WD Poetry Awards. In addition to a Q&A with her, you’ll be able to
committed to protecting your privacy. For read her award-winning poem, “The Old Ones.”
a full copy of our privacy statement, go to
Crossroads have the reputation of being challenging because there are
aimmedia.com/privacy-policy.
often high stakes involved. A wrong turn can trigger significant setbacks.
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COPYRIGHT: 2022 by Active Interest

Media HoldCo, Inc., Boulder, Colorado.
But on the opposite side of that coin, the correct turn might be just the
This publication may not be reproduced, springboard you need for writing your next success story.
either in whole or part, in any form without
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Yours in writing,g
Printed in the USA
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based in Northern Virginia. An Alabama native, Cordell
holds bachelor’s degrees in history and journalism
from Auburn University and a master’s degree from
Northwestern University’s Medill School of Journalism.
He is now a content manager with Washington,
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Communications. His work has appeared in USA Today, Peter H. Miller
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When not writing, Cordell enjoys movies, travel, and
attempting to manage his two sons with his wife. CTO
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KIM LOUISE (she/her) is the author of 11 novels CFO

and five novellas. Her writing has been published by Stephen Pompeo
BET Books, Kensington Publishing, Third-World Press,
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I Think This Is Real
Author and essayist Sloane Crosley talks about her new novel, Cult Classic, writing
with humor, and the tangled romance of friendship.
BY CARTEN CORDELL
H
ave you ever talked about
a movie or a book you’re
interested in, only to have
your social media accounts serve up
ads for those very items, almost as if
they were listening?
Now imagine the same social media
accounts could be harnessed by NSA
data scientists, upscale influencers, and
leisurewear-clad zealots to deliver the
most frightening package of all to your
doorstep: your dating history.
Therein lies the central tenet of
author Sloane Crosley’s new novel,
Cult Classic, which debuted June
7. Much like her first novel, 2015’s
The Clasp, Cult Classic finds its
protagonist, Lola, coming to terms
with the people and friendships of her
past at a time when she’s embarking of Manhattan and then another also notably in her essay collections I
on a new life stage, namely an and then another. Before long, Was Told There’d Be Cake, How Did
engagement to her fiancé, Boots. Lola is besieged by the ghosts of You Get This Number, and Look Alive
But as Lola navigates her relationships past, seemingly drawn Out There, as well as an established
ambivalence about her pending to her at random, but then more career in magazine journalism.
nuptials, and her friendships with nefariously by a shadowy group with Crosley recently spoke with WD
former coworkers from a psychology a keen interest in her personal life. about her new book, writing with
magazine, the past comes rip- Cult Classic wields the same humor, and how she navigates the
coiling into her present in the form rapier wit that Crosley has come to differing approaches between writing
of one ex-boyfriend in her corner be known for not only in fiction, but novels and narrative nonfiction.

Where did the impetus for this with herself—the container of it is It’s been seven years since The
novel begin and how long did it about friendship. And I actually hear Clasp was published. Has the
take to formulate? myself say that out loud and it sounds process of writing a novel got-
I think I’ve been avoiding, for a very so hokey … But there is this compli- ten any easier or changed from
long time, writing about romance cated friendship that Lola has with that first experience to now?
in any sort of direct way. Because her former coworkers, especially her … I had written a novel when I was
when you are a writer and you are a former boss, Clive, and there is [this] much younger that will never be
woman and you live and write about telling thing where she feels like they published. It’s very bad, but part of
New York, people assume you’re almost should have dated at some the reason it’s so bad is because I had
doing that anyway. … friends will point and that ship sailed. And that started it in college and then tried to
often—especially with my writing is not an experience that I personally expand it and was just sort of inject-
narrative nonfiction for so long— have had with anyone I’ve worked for, ing chapters into it. But I already
say either, “I have a story for you. but I can feel that for her, that sort of knew what the last 20 pages looked
You should write about it,” or “Don’t complicated friendship that you see like, and it was just a miserable expe-
write about this.” … I finally felt that more of on the page than you do, let’s rience to know to that degree exactly
I had the maturity, both as a writer say, on the screen. … where I had to go.
and a person, to tackle what could I wanted to make sure that … it With The Clasp, I thought, Well,
potentially be a very cliché or trite was clear that there was sexual ten- let’s not do that again. It was a little
subject in what is hopefully a new sion, but now it has calcified into more feeling around, letting the
way and just go for it. … I guess I something that is deeper. That is characters take me where they wanted,
would say that my first novel, The actually one of the most important but not quite knowing where it was
Clasp, actually has some similarities relationships in the book and one of going to go. With Cult Classic, it’s not
to this novel, only in the fact that you the greater reasons for writing it even easier, but I think I have figured out
have this group of people that are … even though, quite clearly, it’s a at what point I need to develop that
about my age engaging in their sort book about ex-boyfriends. North Star and just be headed there.
of social machinations. I almost wish … I was so afraid of it for so long
When you’re approaching the because knowing the ending so much
for them more than chatting in a bar
interactions in each scene, was in advance really killed that first novel
in Manhattan or Brooklyn. That’s sort
it difficult to craft the humor that will never be published. I had to
of what this book does.
in that?
In both The Clasp and Cult … I think that if anything, it’s not that
Classic, it feels like the my humor is always successful, but
protagonist is approaching the that muscle is one that I’m used to
end of a life stage and is trying exercising. Therefore, it is the one that
to reconcile the relationship has to be reined in. It comes pretty
with some of the folks that naturally to me—again, I’m not sug-
were in that previous formative gesting everything I say is uproari-
life stage. Do you find that’s an ous—but it’s not the humor that I had
interesting part of a narrative to work on so much as the pathos.
to explore? … It’s not hard to inject pathos or
Any kind of conflict is, of course, sadness or moments of poignancy
interesting to explore. I think you into a funeral scene, nor is it hard to
might be getting at something that I inject humor into it. I think as you go
really wanted to do with this book, through your life, when you’re think-
which is in order not to just make it a ing about people you used to date …
litany of men—there’s a certain point there’s some sort of spike and clarity in
in which the heroine jokes about not your memory, and so all emotions rise
being able to pass the Bechdel test for those moments.
figure out how to find that room to in the natural world that moves This is your second novel and
know where I was going, but still be differently than you would ever you have three collections of
able to surprise myself. notice before. That kind of detail is a essays. Do you think you’re
real free-for-all. … going to be returning to the
I read a few previous interviews
For nonfiction, I think one of novel as form again soon?
where you talked about your
two things has to happen. It has to So, sometime next year, I will have
essays and recognizing when
be a great story, an objectively good my first full-length, narrative nonfic-
a lived experience has the
story. … I’ve told a couple of people tion book out, which sounds weird
potential to be an essay, such
the same story, and it sort of starts to because it seems like that’s already
as your first essay in The Village
congeal or calcify in my brain. Then it happened. But, the essays are not
Voice where you were twice
stays put for a while until I figure out fully connected. It’s a five-part book
locked out of your apartment on
the same day. How do you know if it’s bigger than me. Then the other about grief that’s hopefully also
when something as random as way to do it is to look around and bizarrely funny, called Grief Is for
that could be an essay? think, Is there some sort of theme that People, and that will be out next year.
[Laughs] I always bring my keys keeps on coming up, and do I have I just handed in the first draft. So
now. It depends on the kind of detail a story to support that theme? Both you’re actually catching me at a very
or story or the size of it. So, first of techniques really are—at least in my weird time, because I have the novel
all, details. Something sort of tiny mind and in my process—in place … on June 7, I finished the nonfiction
and hilarious happens, something so that you’re not just telling cock- book, and it’s very rare that I just sort
that could be a piece of dialogue, an tail party stories to people. You have of look around for a couple weeks
analogy. You travel somewhere and some sort of system of checks and and right when you finish something
you notice something, something balances. I always think, Well that was fun. I’m
never going to think of anything new
again. I guess it’s time to finally open
Worth a Thousand Words that bed & breakfast.

And then it doesn’t last long,
but it’s like a strange time period
where like I’m sure both fiction and
nonfiction will come. But for now, I
just finished the next nonfiction one.
I’ve got to do laundry and take a nap.
Does the process change how
you approach your writing over-
all, moving from nonfiction to
essays to journalism to fiction?
… There is a sort of humor of exas-
peration or that feeling of “I’m stuck
in the middle with you” with nonfic-
tion, where there’s less of an impetus
to create an entire world. Whereas
with fiction, you’re just on the back
foot when you start because it’s not
“It’s the protagonist from my last novel made from the pulp of remainders.” true. … The approach is always how
do I both beautifully and efficiently
Bob Eckstein is a New Yorker cartoonist, NY Times bestselling author, and adjunct professor
get to the point where the reader
at NYU. His new book is The Complete Book of Cat Names (That Your Cat Won’t Answer forgets that I’m writing it? That is a
to, Anyway). question that you actually want to

Unlock the potential of your manuscript!
avoid when writing narrative nonfic-

Want to write a good book? I can help.
tion. You never want the person to
forget that there is someone speaking
Helga Schier, PhD.
to someone for whom the follow- Publishing executive,
ing things have happened or who has published author and
these opinions. experienced editor offers
Is there anything I’ve neglected powerful, comprehensive
to ask you about?
The one thing that is funny that
and effective editorial
I will add is that … the kinds services.
of conversations I’ve had with
[Farrar, Straus and Giroux] and “When Helga entered the picture, my manuscript
with booksellers, anybody in the
went from promising to a published and critically
media even, they tend to talk about
the magic realist elements of [Cult acclaimed book.”
Classic] … where if you just pay – Ed Driscoll, award-winning comedian and writer
enough money using data from the
NSA, Instagram, intense meditative withpenandpaper.com 310.828.8421
thinking, general mind control, and
influence, this organization [can put]
[email protected]
ex-boyfriends in front of our heroine.
I feel like that’s not magic, that’s
marketing. … We talk about it as if
it’s this crazy thing … But I feel like
if I had all the money in the world
and access to the kind of technology
that we have in our complicated day IMPROVE
and age, I can put you and someone YOUR WRITING
you dated in the same spot anywhere ONE COURSE AT A TIME.
on this planet—and it would not Whether you’re writing for publication,
be hard—using sheer influence and extra money, or to tell personal stories,
Writer’s Digest University has courses
power of suggestion. So it’s actually that can help get your writing career
very funny that everyone is using the underway. Our expert instructors
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I’m like, “I think this is real.” the motivation and drive to enable you
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Our workshops cover a wide range of
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• FICTION • NONFICTION
WRITING WRITING
• FREELANCE/ • PREPARING FOR
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Carten Cordell is an award-winning
WRITING • SCREENWRITING
journalist based in Northern Virginia. The • GETTING WORKSHOPS
former online editor of Northern Virginia STARTED AT SCRIPT
Magazine, Cordell’s work has appeared in • MARKETING/ UNIVERSITY
USA Today, Washington Business Journal, BUILDING
A PLATFORM
Defense News, Federal Times, FedScoop,
HuffPost, and many other publications.
Visit to take your writing education to the next level.
Follow him on Twitter @wccordell.
The Necessity of Professionalism
Three editors offer advice for freelancers about the dos and don’ts of maintaining
professional working relationships.
BY DON VAUGHAN
M
any years ago, before
email and the internet,
I was a senior editor at
a midlist tabloid newspaper called
The National Examiner. Part of my
job involved working with freelance
contributors, making assignments,
and overseeing their work. One day,
I assigned a piece to a new writer
with instructions to turn it over as
quickly as possible. A week went by,
then another. I called the writer, who
assured me the piece was in the mail,
and I should have received it.
A few days later, the article finally
arrived on my desk. The writer, fresh as freelance writing. Failure to act was thinking of including a theater
out of envelopes, had placed the professionally at any stage can have game, and it was so interesting that
manuscript in an airline vomit bag, dire consequences for the writer, their she decided to do that instead.” Smith
stuck some stamps on it, and dropped editor, and even the publication itself. paid the writer a kill fee but says that
it in the mail. We never used that she wouldn’t do so now because the
writer again. MANY FORMS OF writer did not deliver the assigned
Shortly after, another new UNPROFESSIONALISM article. Smith never worked with the
writer delivered a great piece, then Unprofessionalism can take many writer again.
immediately pulled it because she forms, editors report. Most common More than once, Smith adds,
wanted to pitch it to one of our are writers who ignore word counts, she has had a freelance contributor
competitors. She did, they declined, blow off deadlines, hector editors submit a story with numerous blank
and so did we. We never used that with frequent emails and texts, and spaces, known as TKs, and a request
writer again either. fail to deliver what was assigned. for the editor or the publication’s
In both instances, the writers lost Sarah Smith, editor-in-chief fact-checkers to confirm and add the
work because of their unprofessional of Prevention magazine, recalls a missing information. “I’m fortunate to
behavior. Instead of using a vomit writer she worked with at a previous have a fact-checker and a copy editor,
bag, the first writer should have gone publication who was assigned a story but I hire outside writers to do the
PHOTO © GETTY IMAGES: WITTHAYA PRASONGSIN
to the store and purchased some on three ways to be creative with kids. complete story—find the statistics,
envelopes. In the second example, “The story I got back was five theater research the studies, send me clean
the writer should have honored her games for kids,” Smith says. “I went copy,” Smith notes. “These things I
commitment to the publication that back to my original assignment for send back with other revision notes
first gave her the assignment. fear I hadn’t been clear that I needed with a reminder to send me all the
Professionalism is vital to success a variety of ideas, but I had. When I info with the next draft, but I find it
in any occupation, but especially asked the writer about the story she sloppy, and I don’t go back to those
a person-driven profession such was assigned, she replied that she writers because I can’t count on them.”

Beth Shugg, executive editor together; I can be flexible if I know consequences of unprofessional
of Midtown Magazine, a regional early enough that something isn’t behavior are pretty simple: I’ll move
lifestyle publication based in working out.” on to another writer.”
Raleigh, N.C., laments writers Smith and Shugg speak from Shugg doesn’t hesitate to move on
who submit writing samples that personal experience on the issue of as well, though she will forgive an
suggest they are more skilled than unprofessionalism, both as editors unprofessional writer if they are will-
they really are. “Sometimes writing and writers. Smith, for example, was ing to change. “If a writer is polite
examples are more reflective of once assigned a story for the maga- and humble, and open to my changes
a previous editor’s good work at zine she worked for at the time and and suggestions—and shows a will-
making a story read more smoothly found it beyond her capabilities. She ingness to learn and grow—I may
than when it was turned in,” she was intimidated and acknowledges give [them] another chance simply
explains. “[Substandard] stories like turning in incomplete work that she because [they were] so pleasant to
these, which can require hours of never revised. “My problem,” she work with and so willing to work
editing, are not an efficient use of says, “is that I didn’t ask for help. I hard,” she says.
my time, and I give them no more didn’t say, ‘I don’t know how to do
than two chances.” this part. Is this a good approach?’ A CASCADE EFFECT
Another unprofessional peeve: The good outcome is that I was so Unprofessional behavior can have
writers who aggressively insist on embarrassed about it for so long that consequences beyond the writer. In
more money than Shugg is able to I got better at going to my editors certain circumstances, it can cause
pay. “These are often writers who with potential solutions to problems serious problems for their editor and
don’t have a full-time job or feel they and asking them to guide me to the the publication itself, Smith reports.
are so good that they deserve more best choice.” “There are so many things on our end
money, and sometimes they can be I’m guilty of unprofessionalism as that can get derailed,” she explains.
quite persistent,” Shugg says. “When well. Early in my career, I pestered an “If the lineup of the issue is affected,
that happens, the writers usually editor whom I felt wasn’t responding the editor has a hole to fill and there
don’t make my list of writers to work quickly enough to my wonderful may be wasted expenses on images or
with. If I give an assignment that queries. He finally read me the riot problems with the printer. For digital,
ends up requiring a lot more research act, and essentially told me to stop there’s the potential for lost traffic as
and interviews than I anticipated, pitching. My immature behavior cost the editor either loses a planned story
I will certainly try to bump up the me a potentially lucrative market. or has to take time away from editing
payment. But if a writer turns in a Loss of a market and future work to deal with the problem.”
lackluster story that doesn’t meet is just one possible consequence of A professional demeanor is not dif-
my standards and still asks for more unprofessional behavior. It may also ficult to maintain, and the results can
money, they are off the list. It just isn’t place a long-lasting black mark on a be career-advancing. “Professionalism,
good business to continue a working writer’s reputation and make future like manners, really has its roots in
relationship with someone like that.” editors reluctant to work with them. treating people with respect,” con-
“Editors are juggling so many cludes Smith. “I’m looking for people
DON’T HESITATE TO ASK things every day that we, unfortu- who value mutual respect—those are
Smith believes that a lot of unprofes- nately, don’t have the time to train the writers I have long, productive rela-
sional behavior on the part of writers someone promising to become a tionships with.”
stems from an unfamiliarity with how regular contributor,” Smith says.
editors work and being unwilling to “I need to work with people who
ask. “I’m sure writers don’t want to send me clean, complete copy. I’m Don Vaughan is a freelance writer based
come across as inexperienced or not never too busy to answer ques- in Raleigh, N.C. His work has appeared
in the know, but I need to be in the tions as a writer is working or to in Boys’ Life, Writer’s Digest, Military
Officer Magazine, Encyclopedia Britannica,
loop if stories evolve as writers write,” work through a tricky story with a and MAD Magazine. He is the founder
she explains. “I’m planning an entire revision or two—most editors love of Triangle Association of Freelancers
issue and I need everything to work those parts of the process—but the (TAFNC.com).
No matter what you write, a bit of poetic license can be a valuable asset to any writer’s arsenal.
POETIC FORM: CHANSO “The Waking of a Tree,” by R. E. Wu

The chanso is a French form that
offers poets a great deal of freedom— The woods were still in slumber Then on again I journeyed
even as it sticks to some very defined When I took a winter tryst, Through the merry, chatting trees,
rules. Here are the guidelines: With powder-dusted umber Between the timbers creaking,
Twining through the snowy mist Creaking warmly on the breeze.
• Five to six stanzas of the same Of scattered snowflakes falling,
length followed by an envoy (a Falling slowly through their midst.
brief stanza that ends French
poetic forms such as the bal- Above, the somber branches
Stretched and murmured, all a drowse While the lines This example
lade or sestina) that’s roughly
With pending avalanches per stanza and features five stanzas
half of the size of the first five
Clustered lace-like on their boughs syllables per followed by a four-
to six stanzas
And speckled sunlight calling— line can vary in line envoy.
• Those first five to six stanzas can
Calling for the trees to rouse. chanso poems,
be as concise as couplets (or two-
this example
line stanzas) or have more than I heard the cedars waken, landed on six-
10 lines Watched their murmurs turn to moans line stanzas with
• Each line should have the For stiffness wasn’t shaken seven syllables
same number of syllables, but Yet from dormant winter bones— per line.
whether it’s five syllables, 15, or Their creaking timbers sounding,
somewhere in between is up to Sounding weary, wooden groans.
the poet’s discretion The poet added
Then low beneath my awning an extra flourish
So, as you can see, this form has Shuddered with a chorused CRACK, to this poem with
a few strict rules that provide a lot of A thawing cedar yawning, its rhyme scheme
wiggle room for poets. Subject matter Stretching long her rigid back and by repeating
is also open. A poet could write about Her pulsing heartbeats pounding, the same word
war, literary feuds, or the waking of Pounding, stretching, beating at the end of the
trees as in this example by a Poetic —THWACK. penultimate line
Asides reader:
I touched my chapping fingers as the first word
To her ochre overwood of the final line in
(Where still the balsam lingers each stanza.
Like the grove where cedars stood)
And listened to her speaking—
BREWER ILLUSTRATION © TONY CAPURRO
Speaking raptly, rapping wood.
Robert Lee Brewer is Senior Editor of Writer’s Digest and author of The Complete Guide of Poetic Forms.
SHARE YOUR POETIC VOICE: If you’d like to see your own poem in the pages of Writer’s Digest, check out the Poetic Asides blog
(WritersDigest.com/write-better-poetry/poetry-prompts) and search for the most recent WD Poetic Form Challenge.

Poetry
Awards
32 LINES. ANY FORM. $1,000 PRIZE.
We’re looking for your best poems of 32 lines or fewer—
free verse, odes, pantoums, sonnets, villanelles, and even
haiku—for the 17th Annual Writer’s Digest Poetry Awards!
This is the only Writer’s Digest competition exclusively for
poets. Win cash and an article about you in the July/August
issue of Writer’s Digest.
EARLY-BIRD DEADLINE: OCTOBER 3, 2022
Discover the full prize list and entry details at

WRITERSDIGEST.COM/WRITERS-DIGEST-COMPETITIONS/POETRY-AWARDS
5-MINUTE MEMOIR
Lessons From Book Two

BY HEATHER CHAVEZ
B
ook two kicked my ass.
I would like to say instead
that writing my sophomore
thriller proved more challenging than
I’d expected. Or that it provided a
growth opportunity. Or that finishing
it made me feel really and truly like
an author. But while all of those
things are true, they don’t go nearly
far enough.
Book two was the hardest thing it. The biggest change: my dual POV be. As an author, it’s easier to share
I’ve had to do in my professional became a single POV. When I finally the celebratory stuff. Being a writer
career, as an author or otherwise. Far typed “the end,” I was able to sleep is hard, so of course we want to—
worse than getting my first one-star for the first time in months. I had need to—revel in the wins. But as
review. Worse than releasing into a done it. I had written what felt like a challenging as this experience was, I
pandemic and seeing events canceled completely different book. Go, me! consider it just as much of a victory as
and sales stalled. Worse even than That completely different book was signing that book deal or seeing my
that time in my mid-20s when I the one my editor disliked. cover for the first time. Yes, book two
was a rookie journalist and had to I admit it—I wallowed. I may have kicked my ass, but I feel like maybe I
report on an armed standoff. (You ugly-cried. Mired in self-doubt, I was got in a few kicks, too. I’m proud of
can imagine how receptive they were unable to write for weeks. But then I my follow-up thriller, Blood Will Tell,
to my questions.) While I admit that put together a power anthems playlist and my third book was a breeze to
last one, especially, made me anxious, and started again. (Hey, who needs write in comparison. As painful as the
nothing will test an author quite like sleep, right?) process was, I learned what works for
an editor telling her to throw out the This time, I threw out 99 percent me—and also what doesn’t.
whole book and try again. (Yeah, that of the book. New setting. New When first submitting book two, I
happened. And yeah, he was right.) secondary characters. Completely thought the worst that could happen
A little backstory: In October new plot. The only thing I kept was that my editor wouldn’t like
2018, I sold my debut, No Bad Deed, was the core of the story that had it. When that actually happened, I
in a two-book deal. Since it sold originally compelled me to write discovered I was wrong. The worst
quickly, I had only the seed of an it—the relationship between sisters thing that can happen for a writer is
idea for what would come next. Still, Frankie and Izzy. If you’re keeping to stop writing. WD
as someone who had never missed a count, that means my book two Heather Chavez is a graduate of the
deadline, I managed to finish a draft was actually more like books two, University of California, Berkeley’s English
ILLUSTRATION © GETTY IMAGES: MALTE MUELLER
with days to spare. The problem was three, and four. All while working a literature program and has worked as a
that it wasn’t a very good draft. demanding day job. Hence the way I newspaper reporter, editor, contributor
to mystery and television blogs and in
So, my deadline was extended, and started this whole thing. communications for a major health care
I rewrote book two—and by rewrote When I began writing this, I organization. She lives with her family and
it, I mean I threw out 80 percent of wasn’t sure how candid I wanted to two cat overlords in Santa Rosa, Calif.
CALL FOR SUBMISSIONS: Submit your own 600-word essay reflection on the writing life by emailing it to [email protected]
with “5-Minute Memoir” in the subject line.

3,000 Editorial Warriors
to Help You Choose
the Right Road.
W
When you’re at a crossroad
crossroads,
ds, the Editorial
Freelancers Association’s free, online Job List and
Member DirectoryiÌÃÞÕw`>i`ÌÀ]ìÝiÀ]
proofreader, designer, translator, or other editorial
«ÀviÃÃ>ÜÌ Ì iÀ} ÌiÝ«iÀiVi]Üi`}i]
>`ÃÃÌw`Ì iÀ>`LiÃÌÌÀ>Ûii`°
the-efa.org
Poetic Forms
The Backbone of a Poet’s Writing
In The Complete Guide of Poetic Forms, WD’s resident

poetry expert Robert Lee Brewer showcases more
than 100 poetic forms to serve as both an informative
resource and inspiration for new writing.
Visit WritersDigestShop.com
to download this PDF and improve
your poetry today!
INDIELAB
New rules. New strategies. New paths to success.
BY MATTY DALRYMPLE
Creating Your Story Frame
O
ne of my favorite nautical I love crafting description and That dilemma hurts enough
terms is “brightwork.” dialogue, and it’s easy for that detail when it plays out at a scene level.
When I first encountered to draw me in before I have the It’s worse when it plays out at the
this word, I assumed it meant the overarching story clear in my mind. story level.
polished metalwork on boats, but That siren call is especially hard to I finished the 80,000-word first
I learned it also refers to highly resist when the scene plays out like draft of the novel, stepped back to
varnished woodwork. Search for a movie in my mind. I can visualize admire my hard-won words, and
Chris-Craft vintage runabout and every detail of the setting, sense every realized that the story had several
you’ll find some stunning examples nuance of my characters’ emotional significant breaches. That Pittsburgh
of wooden brightwork. states, and hear every line of dialogue scene was too thematically and
I love the concept of brightwork they will use to express those states. geographically removed from the
because, like so many nautical For example, in an early draft rest of the story to fit snugly. The
concepts, it has a perfect analogy of my fifth Ann Kinnear Suspense villain didn’t have enough page
in the writing world. In the same Novel, I allocated several thousand time to give readers a fair shot at
way boatbuilders layer and polish words to a fully fleshed-out scene of guessing “whodunit.” Storyline
the pieces of wood that make up the Ann traveling to Pittsburgh for an inconsistencies violated the smooth
brightwork, we writers layer and engagement for her spirit-sensing presentation of who-knows-what-
polish description and dialogue to business. I even considered taking when—an especially egregious faux
add depth and luster to our work. a road trip to Pittsburgh to inform pas in a mystery.
Just as a boat’s brightwork draws my depiction of the neighborhood. Every adjustment I made to one
the eye of a discerning sailor, well- I was immersed in capturing these plank of my story displaced another.
crafted description and dialogue details … until I surfaced from my The breaches became worse, and the
draw our readers into our story. work and realized there was no rib story wallowed. I made pass after
Perhaps it’s what draws us, the in the frame of my story to which to pass through the manuscript, trying
stories’ creators, in as well. attach this description and dialogue. to patch the holes, only to find
But no boatbuilder embarks I faced one of the writer’s most that I had introduced a whole new
on the painstaking process of painful choices. I could force the set of inconsistencies. I discarded
installing wooden brightwork before ill-fitting story “plank” into place and rewrote more words with that
the frame of the boat is in place. and hope that the reader didn’t manuscript than I had with any
As writers, we should ensure the notice the resulting leaks. Or I could other book.
frame of our story is in place before cut it out and let my story, once A plan to launch that novel
focusing on our “prose brightwork.” established, dictate the details that six months after the previous
If only I had followed this would serve its overall purpose. (I installment of the series stretched
commonsense advice. chose the second.) to eight months, then 10, then

12. Fans became impatient, and I • Include notes about the reasons it while constructing a frame of
feared I might lose their interest. for specific aspects of the scene to only a few thousand words, I could
I knew I was losing income from avoid making a change without see it as a welcome opportunity,
sales. A manuscript that should understanding its ripple effect. not an odious necessity. Far from
have been complete after one constraining my creativity, the
For example:
editorial review required the time frame spurred it.
and expense of a second. ANN and Mike agree to meet When I had a frame of 20,000
I did eventually address all the with Dirk, who lives in nearby words, I found that the modifications
issues, but the effort was exhausting. Wilmington, Delaware, to I was making on each pass were
I vowed I would not allow myself to discuss Dirk’s invitation for now refinements, not wholesale
Ann to speak at a writers’ changes. With each pass, I added
get mired in that dilemma again.
conference. The weather is
When I started work on the next more description and dialogue
sunny and dry (to explain why
Ann Kinnear novel, I considered brightwork, now firmly anchored to
Dirk would drive his classic car
creating a highly structured outline, the ribs of my story frame. I knew I
to the meeting). From their
complete with Roman numerals and seats by the window, they see
could accommodate further mid-
indents. But that felt constraining, Dirk pull into the parking lot. course adjustments without causing
like securing a boat with too-short Mike is entranced with the car the overall story to founder. In fact,
lines: a change in tide might leave (setting up the later trade of my frame morphed seamlessly into
you literally high and dry, dangling Dirk’s car for Ann’s services). the manuscript. The only marker that
precariously above mucky ground. I I had transitioned fully out of the
My first framing pass, about framing stage was when I switched
didn’t want to impose limitations on
5,000 words, revealed a plot hole my tense from present to past and
my story. I wanted to create a firm
early in the story. I made a second my font from sans serif to serif.
foundation. I realized that what I
pass, fixing the hole and solidifying By gaining an understanding
needed was a sturdy story frame.
my frame as I went. At 10,000 of the overall story frame before I
After some experimentation, I
words, I saw where I could tighten focused on description and dia-
came up with these guidelines for
the plot by eliminating a point-of- logue, I avoided the frustration of
constructing a frame:
view character and by elevating a creative thrash and the pain of dis-
• Use a different (sans serif) font to minor character to a major role. carded words. A smoother, faster
help establish a framing mindset Subsequent passes highlighted creation process meant a more
that is distinct from the mindset opportunities to consolidate efficient and profitable publishing
you will bring to the creation of settings, to change a character’s effort. Most importantly, I could
your “prose brightwork.” profession to better support the launch my readers into a story
• Begin each scene with the POV plot, even to change the nature that offered the pleasure of highly
character’s name, emphasized of the crime and the identity of polished prose brightwork based
with caps, to ensure consistency the villain. (One way that the on a carefully constructed frame
of perspective. writer’s frame is conveniently that would carry them successfully
• Describe the action using unlike the boatbuilder’s is that we through their imaginative journey.
present tense to keep the focus can easily adjust it as we discover
on that story “rib,” not the opportunities for improvement.)
embellishments. In fact, the relative ease of these Matty Dalrymple is the author of
the Lizzy Ballard Thrillers and the Ann
• Capture the scenes in adjustments enabled me to bring a Kinnear Suspense Novels and Suspense
chronological order to ensure sense of adventure and playfulness Shorts. Matty explores the writing craft
plotline logic (e.g., a flashback to the framing process. I would have and the publishing voyage via “The Indy
scene that will occur in the been loath to change the identity of Author Podcast” and her books The Indy
Author’s Guide to Podcasting for Authors
denouement of the final my novel’s villain if I had discovered and Taking the Short Tack: Creating
manuscript might be the first a better alternative only after having Income and Connecting with Readers
scene in the frame). drafted the full story. By discovering Using Short Fiction.
INDIELAB | WORKSHEET
Story Frame
1. What is the overarching story in your current project?
2. Are there any scenes that don’t directly fit into this overarching story? List them here.
3. Can you easily remove these scenes without disrupting the overarching story?
4. What does the story lose by excluding these scenes?
5. What does it gain?
6. Does it leave any potential plot holes you’ll need to deal with?
7. How long will it take you to revise the manuscript to exclude these scenes? Write as many details
as you can (including deadlines).

INDIELAB | AUTHOR SPOTLIGHT
BY AMY JONES
Nikesha Elise Williams

stigmatized and traditional publish-
ing itself is seen as prestigious and
elite. Breaking that stigma and prov-
ing that I’m self-published because of
gatekeeping, not because I can’t write,
has been extremely difficult.
PUBLISHING ADVICE: Remember that
publishing is a business. The end
goal is to make money. Yes, we write
for the love and the art of it all. But
love doesn’t pay the bills. Love the
Four Women; The Appeal of was a copy edit
d before
b f it was good d art. Work the business.
Ebony Jones; Love Never Fails; for publication. I took their advice,
MARKETING STRATEGY: … I attended
Adulting; Lessons We Were Never reached out to the editors I met at
a lot of book festivals … Not all
Taught; Beyond Bourbon Street the book festival, and published the
book festivals are created equal.
(African-American fiction, women’s novel myself. I’ve been self-publish-
However, each one helped me
fiction, literary fiction, poetry, NEW ing ever since.
expand my audience.
Reads Publications)
SELF-PUBLISHING APPEAL: I like the I’ve also done a lot of workshops.
WHY SELF-PUBLISH? I spent months autonomy of self-publishing. With … The first time I gave the work-
querying agents. Some sent back five novels and a poetry collection shop in February 2020, it was for
form rejections. Many didn’t that I turned into a one-woman free. Every time I’ve given it since,
respond at all. … show that ran for four days before I’ve been paid as a speaker and been
I remembered seeing an article the pandemic, I have been able to able to sell books …
from ESSENCE magazine about why bring my wildest dreams to life. The difficulty in book market-
writers should consider self-publish- There is something very fulfilling ing is the main reason I started my
ing. I took it as a sign and began set- about that for me. Though this was podcast “Black & Published.” I knew
ting up an account on CreateSpace not what I imagined, I can’t say I’m how hard it was for me to get my
and BAM Publish. … not living an author’s life. It’s hard work out there and wanted to pro-
I connected with the literary but it has been rewarding. vide a platform for other BIPOC
agents who liked the manuscript and indie writers to come to talk.
wanted to represent me. I signed with BIGGEST CHALLENGE: One, how
expensive it can be. … It can get out WHERE SHOULDN’T YOU SKIMP? …
them in December 2015. …
of hand very quickly if you’re not The craft and the production of the
By early fall of 2016, my agents
strategic about it. book. … My goal was to make sure
began pitching to editors. … but in
Secondly, trying to break through that my novel looked like anything
the end, there was no sale. Toward
the crowd and stand out and build you would buy out of a traditional
the end of that year, the Jacksonville
bookstore. … Pay the people who
WILLIAMS HEADSHOT © TONI SMAILAGÍC
Public Library announced its inau- an audience is extremely difficult.

can help you make your work shine.
gural Jax Book Festival for 2017. … Self-publishing has democratized the
At the book festival, I connected publishing industry in a way allow- WEBSITES:NewWrites.com;
with a husband and wife editing ing anyone with some words and NewReadsPub.com; BlackPublished
team who’d worked at Urban Books. some know-how to release a book .buzzsprout.com WD
When my agents were unable to and call themselves an author. It’s one Amy Jones is editor-in-chief of WD. Follow
sell my book, they said all I needed of the reasons self-publishing is so her on Twitter @AmyMJones_5.
WD101
Making sense of the publishing world.
BY AIGNER LOREN WILSON
How Do You Know You’re in the

Wrong Writing Group?
W
riting groups are instru- 1. Unknowledgeable Critiquers critique partners offer you repetitive
mental to helping writ- When I say “unknowledgeable cri- critiques without considering what
ers better their craft and tiquers,” I’m referring to critiquers you may be trying to do with your
getting out of that dreaded writing who have a solid disposition against story. Repeated comments based
tunnel. You know, the one where learning. These critiquers will often around “rules of writing” keep
you think your story is the greatest say there’s nothing new to learn writers within rigid boxes.
thing in the world and there are no about writing and give unhelpful Critiquers who ask questions that
mistakes. Writing groups help you critiques based on opinion and bias help them understand what you are
see where there are bumps in the instead of helpful techniques, advice, trying to do with your story are ben-
road and where maybe your text is and feedback coming from a knowl- eficial to helping writers of differ-
coming through unclearly. edgeable place. ent backgrounds grow. It also allows
But they also help you grow as a A healthy writing group will have all writers to see different ways of
writer off the page. critiquers interested and eager to approaching storytelling. A healthy
Being in a community of writers learn about writing. These critiquers and thriving group will grow and
who all believe in the magic of aim to offer critiques based on adapt to new times and information.
writing, of becoming a published proven examples and known In my experience, this can be a
author is a networking and techniques or skills. tricky issue to fix within a writing
inspiration wellspring. If you’re You don’t have to leave your group. The best course of action if
in the wrong one, though, your writing group to get more you don’t want to leave your writ-
wellspring can be a bog of despair. knowledgeable critiques. Suggest ing group is to bring up the topic
a craft book club with the other with the other writers. A couple
FIVE SIGNS YOU’RE IN THE writers in your group. Or take up of excellent resources for breaking
WRONG WRITING GROUP the helm and start learning more down those barriers is The Anti-
ILLUSTRATIONS © GETTY IMAGES: SUDOWOODO, GMM2000
(AND HOW TO FIX IT) and implementing what you learn in Racist Writing Workshop: How to
I’ve studied writing groups for your stories and critiques. Decolonize the Creative Writing
almost six years as a participant, Workshop by Felicia Rose Chavez
student, and leader. In all that 2. Stagnant and Exclusionary and Craft in the Real World:
time, I’ve found these signs to be Critiques Rethinking Fiction Writing and
the top contenders of stagnant Not every story is written the Workshopping by Matthew Salesses.
or unhealthy writing groups for same. Cultures, teachings, and
writers looking for a professional intentions all play into a story’s 3. Misaligned Writing Purposes
community to help them grow telling. A sign that you may be in Writing groups can have misaligned
their careers and crafts. the wrong writing group is if your purposes on many different layers.

The most common one I’ve seen is Find writing groups with If you find yourself in a group
when it comes to genres and career people who love the act of writing, where you’re the only writer of your
focuses. Groups that tend to have pursue their goals, and encourage demographic, consider introducing
a mix of writers who are there to others in the group. A writing more diversity into your group
share their stories and not receive group is more than a place to learn by bringing in new writers. For
feedback with those who are there how to get better but a community moderators who realize they are
for helpful critiques often have of writers to turn to during times running a homogenized group and
issues with group morale, behavior, of struggle. want to change, good! Reach out to
and critique guidance. Same with If your writing group seems more writing community members
groups that have a blend of genres. like it has a few writers who aren’t and bring in new writers. Also,
Due to the broad sampling of encouraging or that the group itself check out the books referenced
purposes and genres, most writers doesn’t do much to inspire others, above by Felicia Rose Chavez and
find that they can’t get detailed try to foster a more profound and Matthew Salesses.
critiques or advice in their specific greater community through having
genre. For example, speculative more than just critique sessions. THE IMPORTANCE OF
fiction authors tend to have their Have movie nights, decompression HEALTHY WRITING GROUPS
stories misunderstood by authors sessions, share successes and Writing groups are an arguably nec-
who aren’t familiar with the genres struggles, anything that will get the essary component along the road to
or conventions. publication. They help connect us to
writers in your group back into the
Look for writing groups that the people who know the pains we
belief of writing.
align with what you want to do with face daily and can help us overcome
your writing. If you want to self- them. But if they are unhealthy or
5. Lack of Diversity
publish romance novels, try to find not aligned with what we want to do
Sometimes I feel like this point
a romance writers group where you as writers, they can steal our shine
is self-explanatory, but studying
can participate in your community and dull our thunder.
writing groups, I’ve learned it isn’t
while learning about your craft. You To identify whether a group is
something many writing groups and
also don’t have to leave your current healthy or unhealthy for you, exam-
their moderators consider. There is
group to fix this issue. Speak with ine how you’ve grown or changed
room and encouragement to form
your group members and agree on an since joining. Do you see yourself
groups of like-minded writers. But
aligned purpose to help all members steadily making your way toward
like “we are writers who meet to if all those writers are precisely your goals? Or are you realiz-
share stories and offer support” or like you, then you’re writing in an ing you’ve been stagnant, still, or
“we are writers who aim to grow and echo chamber. An echo chamber maybe even afraid or disillusioned
publish our stories professionally.” keeps you from getting one of the since joining your writing group?
most critical elements of a writing Consider changing things up. Your
4. Lack of Passion group: diversity of opinion and lived future self will thank you. WD
Once upon a time, I was in a writing experiences to help you authenticate
group with an author who whole- and color your world.
heartedly believed writing profes- As a writer who is a queer Black
sionally was a waste of time. All the woman, I try to look at how diverse
authors who will be published and a writing group is before joining it. If
Aigner Loren Wilson is a senior fiction
successful have already been chosen, all the writers are white cis-males, I’ve
editor for Strange Horizons and an
and the chances of him or any of us found my writing and self generally associate editor for the horror podcast
making it as authors were so dismal aren’t tolerated. While in groups that “NIGHTLIGHT.” Her work has appeared
there was no point in trying. Writers have a rich representation of writers, or is forthcoming in Lightspeed Magazine,
FIYAH, WIRED, The Writer, and many
who don’t believe in writing sap there’s more openness to characters
more. For more of her writing-related
energy and inspiration from a writ- outside the white gaze and stories articles and to join her international writing
ing group. featuring diverse worlds. group, visit her website HausOfCrows.com.
WRITERSONWRITING
Kirthana Ramisetti
F
or several years, I had a fulfilling as possible. There are no self-aggran-
dream job reporting on guarantees that the book you spend dizement. She
entertainment and celebrity years writing will ever see the light is more clear-
news. And even though my career of day. And if that was the case for eyed about her
combined my love of writing with this project, then at least I wanted failures and
my passion for pop culture, there to know I spent time on something regrets but is
was also an underlying yet persis- that gave me joy. also overcome
tent discontentment. If you’ve ever So, my debut novel, Dava with how for-
harbored dreams of writing a novel, Shastri’s Last Day, addresses ideas tunate she has
then you know the feeling. No mat- about family and legacy and identity, been throughout her life. Dava’s
ter what I had done, personally or with music woven throughout as a final days are when she experiences
professionally, there was always this defining aspect of my protagonist’s her most profound evolution, and
hope of one day being able to write life, just as it is in mine. Writing the she passes away more at peace with
a book and then see it on book- book was such a joy that publishing herself, and at a better place with
shelves and in libraries and in the it mattered less than the experience her children.
hands of readers. On some days it of creating something so deeply I have been asked if writing this
was akin to a faint itch, and other important to me. No matter the novel made me think about my
days it was a sharp elbow to the ribs. book’s fate, the act of writing it had own death. And honestly, it never
As much as I wanted to publish changed my life. did. But it did teach me something
a book, the idea seemed daunting I wrote Dava while facing a about living.
to the point of near-impossibility. crossroads as I was approaching The process of writing Dava led
I had attempted to write a novel midlife. But for Dava, hers comes me to often think about the fear
twice before but ultimately decided mere days before her death. and surrender imbued in the words
to shelve them because they simply Dava Shastri is a billionaire phi- “it’s too late,” and how getting older
didn’t work. I knew I had it in me to lanthropist who is fixated on the can lead us to become calcified
write a novel. But I didn’t know if I world’s perception of her. When at in our ways and resigned to our
could write a successful one. age 70 she learns she has a termi- fates. But humans always have the
When burnout led me to leave nal illness, she leaks news of her capacity for genuine change. And
journalism in late 2017, I was death early to read her obituar- it can have tremendous value no
approaching 40. With my future an ies. But her plan backfires on her matter when it happens—even
enormous question mark, a pros- in spectacular fashion, alienating during one’s final days—if we leave
pect that filled me with an espe- her family in the process. With the ourselves open to it. WD
cial anxiety considering my age, it limited time she has left, Dava’s
became urgent to prove to myself actions force her to have a long-
that I could accomplish the life- needed personal reckoning. A former entertainment reporter for
long goal that had so far eluded Dava begins the novel obsessed Newsday and the New York Daily News,
Kirthana Ramisetti’s debut novel, Dava
me. For this third attempt at a with her legacy, but by the final Shastri’s Last Day, was a pick for Good
novel, I wanted to make sure that pages, she is suffused with a sense Morning America and Lilly’s Library book
the endeavor would be as creatively of gratitude that has little to do with clubs. She lives in New York City.

MEET THEAGENT
BY KARA GEBHART UHL
Liz Parker
VERVE TALENT & LITERARY
L
iz Parker runs the publishing department at Verve Talent &
Literary, an agency based in New York City and Los Angeles.
She represents horror, upmarket and literary fiction, and
select graphic novels and YA, as well as memoir, sociopolitical, nar-
rative, and platform-driven nonfiction. Parker began her career in Chrysta Susan Fowler Matthew
Bilton, author Rigetti, Query and
editorial, serving as an editorial assistant at Viking/Penguin, and of Normal author of Harrison Query,
ultimately as the publishing director at Counterpoint and Soft Skull Family (Little, Whistleblower Old Country
Press. She was a scout with Maria B. Campbell Associates and spent Brown, July (Viking, March (Grand Central,
2022) 2020) July 2022)
three years with InkWell Management before joining Verve Talent &
Literary in April 2018.
“It’s really exciting to help someone launch their career,” she says.
“My favorite exercise is to ask a client where they want to be in five
years, and we walk backwards, step-by-step until we’re at the present “Memoir”
CLIENTS “Book club
day. Then we have a map for that five-year goal.” fiction”
Parker is also the author of two books, All Are Welcome (Lake
Union Publishing, 2021) and The Family Compound (Lake Union
Publishing, August 2022). “Horror”
“Stories help life make sense,” she says.
You can find Parker on Instagram and Twitter @wizpower and at SEEKING
LizParkerWritesSometimes.com. “Trying to force FOMO
[fear of missing out]”
“Must love espresso,
dogs, and bad
“Claiming your
television.”
ABOUT ME book is unlike
anything that’s
DRINK: QUERY PET ever been written
Iced espresso with PEEVES before, like Harry
half and half Potter—or The
Bible”
BLOG:
Apple News “Admitting that you’ve
app FAVORITE stalked me online”
POEM: “Most first novels

“Scheherazade” by you read are actually
Robert Siken PLACE: second or third novels.”
Stowe, Vermont
PITCH WRITING
TIPS TIPS
“Know where “Don’t be afraid you’ll
your book forget your great idea.
PARKER HEADSHOT © LEANNA CREEL
should sit on If it’s a great idea, it’ll

the bookshelf.” “If you’re the only “Know what kind of writer stick to your ribs no
person who has read “Tie-in relevant you are: a sprinter or a matter how much you
your manuscript, it’s personal details.” marathoner, and let yourself try to shake it off.”
not ready to go out.” be that kind of writer.”
Kara Gebart Uhl is a writer, editor, and author of Cadi & the Cursed Oak (Lost Art Press).
BREAKINGIN
Debut authors: How they did it, what they learned, and why you can do it, too. BY MORIAH RICHARD
Donna Gordon
What Ben Franklin
Would Have
Told Me
(Literary fiction, June,
Regal House)
“A dying boy and his caretaker—a
survivor of Argentina’s Dirty War—
journey to Washington, D.C. and queried several, but each one it. NEXT UP: I’m finishing Lesser
Philadelphia to look for the caretak- wanted something different. … I Saints, a collection of short stories.
er’s missing wife and child who had decided to go with Regal House I’ve also started another novel, On
been among the Disappeared.” [an independent literary press]. Sundays We Played God! WEBSITE:
WRITES FROM: Cambridge, Mass. Jaynie Royal, Editor-in-Chief, is DonnaSGordon.com
PRE-FRANKLIN: In my 20s, I was writ- a dream to work with. WHAT I DID
ing poetry and publishing in liter- RIGHT: Getting past self-doubt.
ary magazines. … My sentences got Doing the hard work even though Blitz Bazawule
longer and became prose. I got the it was difficult. Bringing the story The Scent of
courage to start my first novel, Cave into focus. At some point, the Burnt Flowers
Paintings. An agent … agreed to belief in my characters took over (Magical realist fugitive
rep my book, but only sent it to 12 and I knew I owed it to them to thriller, June, Ballantine)
editors. I was asked to rewrite it by follow their dreams and frailties to “Fleeing persecution in 1960s
GORDON PHOTO © DAVID KURTIS PHOTOGRAPHY BAZAWULE PHOTO © ONERPM STUDIOS

two of the editors, but both turned their conclusion. WHAT I WOULD America, a Black couple seeks
it down. Years passed. I got mar- HAVE DONE DIFFERENTLY: I would asylum in Ghana, but fresh dangers
ried, had two children, was a free- have sought out community. At and old secrets threaten their
lance writer for The Boston Globe 65, this is my debut novel. But in a newfound freedom.”
and other publications. TIME FRAME: sense, I’ve been writing my whole WRITES FROM: Atlanta. PRE-FLOWERS:
… Overall, it took close to nine life. … While writing is a solitary I guess I’m what you might call a
years before my book was “done.” I endeavor, support from new friends multi-hyphenate. … I started as a
wrote a complete draft and then put and fellow writers and artists has touring musician … This worldview
it away for more than a year. After been enormously helpful. ADVICE inspired my foray into cinema,
that, I started meeting with a small FOR WRITERS: Follow your passion. where I directed my debut feature
writing group once a month, where Be willing to adjust your vision. film, The Burial of Kojo, in my
I received valuable feedback. … I Sometimes what sounds like the homeland of Ghana. I went on to
rewrote the entire book at least five perfect beginning needs to go. Be direct the Grammy-nominated film
times. ENTER THE AGENT: I didn’t patient with your characters … Black Is King with Beyoncé … TIME
have an agent for this book. I Facts matter. Take breaks. Stay with FRAME: … I had been advised by my

reps to write a book proposal, but Katalina starting new projects, or rereading
soon I had a 250-page manuscript. Gamarra my drafts, left me too depleted to
My theory was, why write about Ben and Beatriz actually revise when I did get the
the book you are planning to write (Contemporary manuscript back. WHAT I DID RIGHT:
when you can just write the book romance, August, … on days when I wanted to give
itself? ENTER THE AGENT: I was Graydon House) up, I made myself send a query.
already signed to CAA for my “The son of Trump voters and a That way I never got in the habit of
other creative endeavors. My team first-gen immigrant fall in love letting disappointment cloud my
introduced me to Anthony Mattero against the backdrop of Trump’s ability to keep going. WHAT I WOULD
in their book department, and I America, forcing them to contend HAVE DONE DIFFERENTLY: I would
instantly knew he was the right with the realities of racism, classism, have more thoroughly researched
person to guide me through this and misogyny and how much how to write a query before I started
journey. BIGGEST SURPRISE: I was they’re willing to sacrifice in order sending them out. … I think part
lucky to be paired with the brilliant to be with each other.” of why I was able to get an agent
Chelcee Johns at Ballantine. She WRITES FROM: Boston, Mass. PRE- so quickly with B&B is because I’d
pushed me to explore deeper layers B&B: … Before writing Ben and spent six years effectively writing
of all my characters, never settling Beatriz, I was working on a very practice queries. So, when it came
for surface motivations. WHAT I DID dark YA novel that was a bit too time to write the one that worked,
RIGHT: I have a strong, determined overwhelming to both write and sell I was able to produce a really
team around me. … The job of during the Trump era. So, I turned strong one. PLATFORM: I’m trying
the author can be a lonely one, to writing something a bit lighter to expand on social media, but I’m
so building a support structure is but (hopefully) just as impactful. also making sure to keep boundaries
critical to success. WHAT I WOULD TIME FRAME: In 2019, I got the idea in place so that I don’t burn out
HAVE DONE DIFFERENTLY: I enjoyed for Ben and Beatriz while watching trying to get more followers. ADVICE
the process and learned a lot about a production of Much Ado About FOR WRITERS: Spend as much time
myself and the endless possibilities Nothing (the book’s source material), reading books you hate as books
of the literary creative space. For but I didn’t do much with it as I you love. And figure out exactly
that, I’m grateful. PLATFORM: I’ve was still working on my YA novel. why you hate them. And I don’t
spent years building an online Then the pandemic hit, I wasn’t mean thinking, Oh, the characters
presence via social media for my working, so I sat down and churned aren’t fleshed out and moving on.
other creative endeavors, and I out the first draft of B&B in six What about the characters aren’t
hope to expand my presence on weeks! ENTER THE AGENT: My agent fleshed out … And how would you
those hubs to gain readership in the is the unparalleled Larissa Melo fix those problems if you were the
literary space. ADVICE FOR WRITERS: Pienkowski! I found her using the author? The way I learned to tell
Don’t look at the peak. It can be website MS Wishlist, which I really stories was by figuring out what I
overwhelming. Just concentrate on wish I’d known about earlier in my did and didn’t like as a reader and
writing on word at time, and you querying journey. It allows you to then practicing it in my writing.
will arrive at the top. NEXT UP: I search for specific hashtags or genre NEXT UP: I have two projects on the
am currently directing the feature mentions on the Twitter [accounts] go at the moment … similar to B&B,
musical of Alice Walker’s timeless of agents … when I queried Larissa, they both deal with weighty topics
classic The Color Purple … I am also I was able to cite the specific tweet hopefully and honestly. WEBSITE:
working on the series adaptation of of hers that made me think we’d KatalinaGamarra.com WD
my novel The Scent of Burnt Flowers be a good fit … BIGGEST SURPRISE:
for FX, with Emmy Award-winner How much the publishing process
Yahya Abdul Mateen II attached to is as much about taking care of Moriah Richard is the managing editor of
star. WEBSITE: Twitter.com yourself mentally as doing the actual Writer’s Digest. Follow her on Twitter
/BlitzAmbassador writing. … I learned quickly that @MoriahRichard93.
AT A C RO S S ROA D S
The Tyranny
of the Verb
To Be
Writers are often told to remove passive verbs

from their writing. Tobias S. Buckell considers
the history of that advice and why careful
IMAGE © GETTY IMAGE: FRANCESCOCH
attention to passive verbs can be rewarding.
BY TO B IA S S . BU CK EL L

L
ong ago, when I first attended writing workshops goes all the way back to oral traditions. Other cultures,
across the U.S., I found them hostile to any variant not worried about CIA preferences for literary realism,
of the verb was. I almost destroyed myself trying have rich storytelling tools that happily tell us stories.
to eliminate passive verbs as a new writer, because I heard So, maybe the assumption that active verbs are
the advice “use active verbs” so much. inherently “better” than passive comes from a cultural
But who the heck decided to call the passive voice lens that doesn’t acknowledge narratives of survival,
“bad,” and why do so many writing workshops across oppression, and traditions of storytelling? Could it
America work so hard to eliminate it? In science papers be that preferring active is an artifact of a masculine,
and business reports, writers almost go out of their way conflict-based rubric of fiction with roots that go back to
to increase the passive. Why do we, as a writing commu- the Greek philosophers?
nity, come down so hard on the passive verb? Even despite the general impact of generic writing
Did passive voice push some author’s grandmother advice, comparing any random group of multiple
into traffic? writers, it’s quickly clear they vary in the amounts of
I suspect one clue can be found in the fact that The active versus passive, and they also vary in how much
Little, Brown Handbook and Strunk & White’s The they dramatize (show) versus their exposition (tell) in
Elements of Style influenced a lot of writing in the United narrative voice. That’s been true for as long as pen has
States. Both writing guides prefer active verbs and put kissed paper.
down the passive. Both books are used as writing bibles So, is it time to utterly, entirely stop worrying about
by many teachers, and both books influenced many passive verbs?
other writing books.
Another clue to our possible groupthink views on What Even Is Passive, on a Nitty-Gritty
the passive voice might come from a New York Times Grammar Level?
2015 review of a book called Workshops of Empire that One of the massive, confusing elements of the passive
went viral online among writers. This book researched versus active verb conversation is that even well-
the many ways the CIA heavily influenced U.S. writing educated wordsmiths and teachers get confused
workshop culture during the Cold War. They helped about passive.
set up graduate workshops all around the world, but as Passive is not simply a variation of the word to be.
a price to pay for the sweet funding, they pushed the The first time I was “passive-checked” in a writing
technique of dramatizing (showing) over exposition workshop, the person just circled every single iteration
(telling) as a part of the agency’s anti-Soviet propaganda. of to be in my manuscript: be, was, were, is, am, are,
Understanding that a militant preference for showing and been.
instead of telling is just a cultural preference shaped in But that didn’t mean everything they circled was
part by larger state institutions has fueled some (good) passive.
pushback against the supposed superiority of showing Let’s get super technical here. In English, an active
things over telling the reader things in narrative. Authors sentence construction goes: subject, verb, object. SVO is
have also pointed out the tradition of telling in narrative the second most common sequence in world languages
(SOV—subject, object, verb—is the most common), and Now, a readable version could be created by get-
English shares that with languages like Chinese, Arabic, ting rid of the word by in something like the heat
French, Greek, Spanish, and many others. radiated off the sun. But notice how that changes heat
In an SVO language, a sentence like the tiger bit the from an adjective into a subject? We’re back to using
man is: subject, verb, object. an SVO construction!
To use the passive voice, we take the object of the My takeaway from this is the realization that the
action above (that’s the man) and move it to the start of verb to be isn’t inherently evil, just misunderstood.
the sentence. In order to keep the logic and meaning of That SVA isn’t passive. And that we may slightly prefer
the sentence, the verb has to be changed, and you get: the active in English due to it being an SVO language. So,
man (object of the action) was bitten (passive verb tense) we can relax.
by the tiger (our subject, the perpetrator of the action). And yet … I still find passive (OVS) and SVA descrip-
Passive voice is an OVS structure. tions radically overused by newer writers. They lead to a
Modern writing orthodoxy invites us to say that one large amount of repetition, sometimes awkwardly con-
of those sentences reads better than the other, though structed sentences, and often cause mild comprehension
the essential meaning remains the same. issues for readers about the staging of action.
If you compare just whether the sentence is SVO or
OVS, the argument over passive versus active comes To Be or Not To Be (I Couldn’t Help
down to whether the sentence works solely on the poetry Myself ) …
and rhythm, or how well it communicates intent. While I bear no malice toward the humble verb forms
Because of this, some suspect that OVS (passive) of to be, I find paying close attention to it rewarding. I
fights the underlying basic linguistic structure of an SVO encourage students that I teach to look at their use of
language, and that maybe OVS passages slightly rub an forms of to be so that they can supercharge their writing.
SVO reader the wrong way, sometimes subconsciously. In fact, a simple assignment I give writers is to go home,
And that’s why you should prefer active sentences. take their manuscript, and highlight forms of the word
It’s not a bad argument, but it gets muddied when to be. I also ask them to take their favorite author and do
someone taught that the word was needs struck out of the same to a story or a chapter.
all their sentences encounters a simple sentence like this: There are a number of reasons I find the exercise
The sun was hot. useful. One is to calm down writers who have over-
Ah! It’s passive! It’s OVS, not SVO! internalized hunting and eradicating the verb. It helps
Or … is it? to see that their favorite, award-winning author happily
The sun is the subject, and there is a verb, but hot is uses was. But it also gets them to look at how often they
an adjective! The sun was hot is subject, verb, adjective: use it compared to their favorite writer.
SVA! It’s a declaration of being, a descriptive sentence. What I’m looking for is mindfulness. What’s the
There is no active versus passive to argue about because ratio of different kinds of verbs? With English an SVO-
that’s not what this sentence is even doing. preferring language, the V in the middle drives the
An easy signpost to help spot this is the word by. sentences, so what verbs are we using? In my own work,
Notice in the tiger bit the man when we swap it to the I like to highlight all the verbs and read them aloud
man was bitten by the tiger, we include the word by to stripped of the other parts of speech to hear what I call
indicate the tiger’s culpability and create the passive the “verb poetry.”
construction. Here’s a very simplistic, grade-school level paragraph
Another easy way to spot the difference is to flip the to show what I mean: The man was bit by the tiger. The
SVA sentence if you suspect it isn’t actually passive. The tiger was angry. The man was screaming in pain as the
hot (was) by sun is what you basically get if you try to tiger bit into him.
AVS the sentence crudely. It doesn’t scan or swap as eas- A sentence like that has a verb poem of was, was,
ily as the tiger example. was, bit. Is that the effect the writer wants driving the

paragraph? The repetition is accidental, not mindful.
Paying attention to the humble to be, even if one never
Often, in a first draft,
memorizes how passive works, allows one to at least
dwell on the verb poetry, even if they may not under-
we’re laying down the
stand the linguistics, and it is a lot easier than thinking
about OVS. SVA. OVS, SVO. Which is the current pat-
raw clay. ... The use of the
tern of that little paragraph.
One can rewrite the sentence above to make it active:
word to be in a declaration
The tiger bit the man. The tiger was angry. The man
screamed in pain as the tiger bit him. We now have
could be a sign we have
SVO. SVA. SVO, SVO. If we only care about eliminating
passive voice, then we may have improved it a little,
a chance to grab the
but it’s not magically great writing. However, the verbs
driving the sentence now become bit, was, screamed,
adjective in revision and
bit. More specific, interesting verbs, a different rhythm.
By focusing on just the verb poetry, I notice that bit
place it somewhere else.
is repeated, too. Let’s fix that. The tiger bit the man. The
tiger was angry. The man screamed in pain as the tiger
sliced his leg. Now I have bit, was, screamed, sliced. Even had to dab at the sweat that beaded on his nose gives us
with the non-verbs gone, I can get a sense of the action the effect the heat has on a character and helps us move
just from the verbs. away from a more generic assertion. Uniqueness and
We’re not done! There’s still an errant was in there. specificity are often the bread and butter of the trade,
The tiger was angry. I mentioned that this is SVA, subject, it’s a big part of what makes an author’s voice. Seeing a
verb, and adjective. It’s a declaration of being, not a declarative was can often highlight somewhere an author
passive sentence. has a possibility to do something more creative.
But I find the was there to be an amazing flag that The verbs at the fulcrum of our sentences matter.
suggests I could (and I must emphasize could) do some-
thing more interesting. The tiger was angry might work To Be Often Confuses Action
because I need the rhythm of it. I may, as a writer, need I see a lot of fight scenes in pre-published manuscripts
to focus on other sentences and just need to deliver the filled with passive construction that could confuse
information. But if interested in style on a sentence level, readers. Consider: Joe’s leg was struck by the sword.
it’s also an opportunity to play with language. For exam- This twists the sword into the subject and removes
ple, I could just cut that sentence and put the word angry the sword wielder. Often the author really tried to say
in the first sentence to get: The angry tiger bit the man. Amanda stabbed Joe’s leg. In fight scenes, I frequently
It cuts an extra sentence. After that, I can go looking for note language that gives agency to weapons or even limbs.
more interesting, specific adjectives or sentence rhythm. Police reports famously contort themselves to use
The furious tiger ripped the man apart. passive in way that removes the culpability of officers:
Often, in a first draft, we’re laying down the raw clay. The suspect was shot during a foot chase. Who did that
But then we have to go back for the sculpting. The use of shooting? Why is this an OVS structure? Passive voice
the word to be in a declaration could be a sign we have often removes the responsible party from the text, but
a chance to grab the adjective in revision and place it fiction writers don’t want to confuse who is doing what,
somewhere else. unless on purpose.
Think of a sentence that’s not passive, but just SVA: Another great way to confuse readers is the combina-
The sun was hot does communicate the fundamentals. tion of present participles and passive voice. A com-
But Joe walked out into a heat so intense he immediately mon draft sentence structure in action that I see goes
But I think the bigger reason we see overuse of the

Passive voice often verb to be comes from drafting. Expository information
gets dumped quickly into a first draft via SVA declarative
removes the responsible statements (the sun was hot). Overuse of the to be verb
comes simply from writers rushing to put the thoughts
party from the text, but in our head down when we aren’t as focused on the
poetry of our sentences.
fiction writers don’t want I’ve written drafts, and seen many as a teacher, where
variations of the verb to be drive most sentences. I’ve also
to confuse who is doing seen manuscripts where an author diligently got rid of
any to be verbs, and that reads awkwardly as well. Line
what, unless on purpose. after line of SVO format is repetitive!
There’s nothing wrong with that verb to be, and we
should all feel free to use it how we wish, but I still find
like: Slipping on a banana, Dai answered the phone. it a useful flag when revising manuscripts. It points out
Verb, object, subject, verb, object, or VOSVO structure, areas I may want to reconsider.
appears frequently in first drafts. There’s nothing wrong As a new writer, I reacted to seeing all variations of
with it, but the sequencing gets confused. Is Dai still slid- the verb to be circled in my manuscript with frustration.
ing while he has a conversation? Or did it stop? In action Particularly since I knew some of them weren’t passive at
scenes, I often flag sentences that combine VOSVO with all! Now I take a highlighter to my verbs so I can see my
passive to create structures like: Smacking into a pillar, Li verb poetry. I reconsider whether an SVA arrangement
was spinning as he struck his antagonist. I find it useful could be written in a more interesting way, or if I can cut
to plainly write out what happened, step by step, so that an extra sentence by combining it in another sentence
VOSVO and passive don’t make fight scenes harder to somewhere else. And, of course, some passive remains
read than they need to be. Li spun, struck his antagonist, because the rhythm, or the pacing, or some other part of
and then smacked into a pillar. the writing just plain needs it.
Spun, struck, smacked versus smacking, was spinning, If circling variations of the word to be and changing
struck. I won’t say one is better than the other, it’s an them to active words was all it took to write well, this
aesthetic call, but I do believe one is a clearer sequence would all be so simple.
to follow. It’s not that simple.
But it’s also not a bad way of diagnosing places
Where Does So Much Passive where we have the opportunity to push ourselves a little
Come From? more artistically. WD
I suspect some of our over-use of passive comes from
academic writing. Scientific writing values the neutrality,
if not outright removal, of the observer from text. It was
observed that the mixture of acids expanded in volume
by 50 percent. That form of neutrality spread in academic
writing, including the humanities, so that academic
writing removed the narrator from English papers to
conform to Enlightenment values. Most early writers are Born in the Caribbean, Tobias S. Buckell (TobiasBuckell.com) is
taught by teachers who learned this mode of writing, and a New York Times-bestselling and World Fantasy Award-winning
author. His novels and almost 100 stories have been translated
contorting the English language into a “formal” OVS
into 20 different languages. He currently lives in Ohio. He teaches
structure instead of an SVO pattern is the paper writing creative writing at Bluffton University, and at the Stonecoast MFA in
many Western children are taught in their early years. Creative Writing program.

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CATEGORIES
Contemporary Fiction • Memoir • Fantasy
Mystery/Thriller • Romance • Nonfiction
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When you’ve hit a writing rut but

the outline isn’t helping, try one
of these tricks for pushing your
characters to their limits and
giving your draft a clear direction.
7 Tips to Rev a
IMAGE © GETTY IMAGE: JORM SANGSORN
Stalling Story
B Y PE TER MO U N T FO R D

R
ecently, I reached that point in a novel-in- make the protagonist Sarah ask Megan if she can borrow
progress—somewhere after page 30 and before the car for an urgent bank appointment—despite her
page 50—when my story lost momentum. Once history of car accidents.
stranded like this, I usually start circling back to the
WHY IT WORKS: A request creates an explicit, as-yet-
earlier pages, sprucing them up, brightening characters,
unfulfilled desire. And the source of all tension is
chiseling dialogue. Simple procrastination as I try to find
unfulfilled desire—someone is thwarted in pursuit
an exciting way forward. I’m hesitant because I know
of something. Regardless of whether the request is
all too well that many novels die out there in the long
declined, accepted, or deferred, an imbalance exists once
wintery tundra of the second act. Meandering in circles,
blinded by a blizzard of characters and subplots and the request is made. If Megan chooses not to lend the
complications spawned. car, tension/conflict ensues. If Megan does lend Sarah
Outlining is often presented as a cure for this. Create the car, we’ll be nervous the whole time Sarah’s driving
a map! Follow the map, and survive the second act! because of her driving record. Even if Megan says she
But as a developmental editor, I’ve seen books based has to think about it, you’ve created a situation where
on splendid outlines still end up in terrible ruts, out there Sarah’s plan is stalled and while the plan is delayed,
in that icy expanse—characters trudge on, increasingly complications can arise.
doomed on the page. The Donner Party also had a map, AN EXAMPLE: The glinting MacGuffin at the center of
after all. Anthony Doerr’s Pulitzer-prize winning All the Light We
Over time, I’ve collected a straightforward set of tech- Cannot See is a massive (and cursed) diamond called
niques to help fiction writers keep moving with energy The Sea of Flames. As the Nazis approach Paris, a wor-
and determination. With these techniques, even simple ried museum director asks the protagonist’s father to
scenes can build suspenseful momentum. Sometimes, it’s spirit the diamond to safety and keep it out of Nazi
less about having a map and more about having enough hands. Marie-Laure, the blind protagonist, safeguards
fuel (and tools) to get you where you’re going. the precious stone and spends hundreds of pages trying
to keep it out of the hands of the Nazis. But the epic story
Technique #1: A Character Makes begins with a museum director’s simple request.
a Request
HOW TO DO IT: Your main character asks someone for VARIATION—THE IMPLIED REQUEST: Sometimes a
something or they ask to do something. Find situations character’s situation makes plain that a request does not
in your work-in-progress where someone gladly helps need to be spoken to register—the request is resounding,
your protagonist and go back and build in a request. even in subtext. In Kaitlyn Greenidge’s incredible novel
Make your character explicitly ask for the thing they Libertie, the protagonist’s mother—one of the first
want. Before, your protagonist’s sister Megan said, “Hey, African American women in the country’s history to
why don’t you borrow my car? I don’t need it!” Now, earn a medical degree—expects her daughter to carry
on her medical practice. The request doesn’t need to walks away. You can’t help but adore Rob, but he’s ignor-
be made because it’s foundational to Libertie’s very ing those we wish he’d focus on, and focusing on those
existence. It’s not something she wants, but how can she we wish he’d ignore—as if the whole point is to make the
deny her mother? reader want to throw the book across the room in frus-
tration and then immediately run over and grab it and
Technique #2: Protagonist Who Makes continue reading.
Terrible Choices
HOW TO DO IT: Look for a character already prone to Technique #3: Secrets and Their
poor life choices in one way or another—susceptible Cousins: Lies
to impulsive decisions, compulsive lying, reckless HOW TO DO IT: A character has a secret crush, a furtive
infatuation—and let them do their worst. I often see gambling habit, or an undisclosed job. Maybe they’re
missed opportunities that fall under this category with failing out of university, but no one knows? Did they tell
my clients—a character is said to be impulsive but their fiancé that they’re great at fixing things around the
doesn’t behave impulsively. Many of us are somewhat house, but they barely know how to change a lightbulb?
conflict-avoidant, which affects our writing, too, when The technique here is simple: If you know that your
characters are always on their best behavior. protagonist starts carrying a secret on page 60 of your
book, make them have it earlier … maybe page 20?
WHY IT WORKS: You’re creating a source of tension con-
Maybe page 1? Perhaps the first paragraph? Establish
nected to your protagonist’s traits. So, this technique
the secret early and then delay the resolution (when the
performs two jobs at once: characterization and story
secret is divulged) for as long as possible.
development. Readers often sympathize with flawed
characters—as long as flaws are reasonable or defensi- WHY IT WORKS: Secrets beget lies—when a character has
ble—and these situations invoke a reader’s concern. a secret, they must lie to protect it. Once established,
If this technique is hard to envision, take a close look secrets create an endless fountain of tension. The secret
at your protagonist—are they admirable, pleasant, and is an informational imbalance between characters that
forgettable? Author Kirstin Valdez Quade calls this “eva- badly seeks correction.
sive protagonist syndrome.” But if a protagonist fre-
AN EXAMPLE: In Tana French’s novel The Likeness,
quently blurts something offensive at the dinner table or
Detective Maddox bears an uncanny resemblance to
enjoys stealing small items from the local bodega, you’ve
a murder victim, then goes undercover as that victim,
got a character who’s making bad choices, and a gift that
infiltrating the victim’s suspect-thick friend group.
keeps on giving.
The group believes their friend survived her stabbing
AN EXAMPLE: Many Nick Hornby books deal with flawed but suffered memory loss due to an ensuing coma.
men who don’t understand themselves terribly well and Improbable, but French pulls it off, and Detective
create chaos in their relationships as a result—often to Maddox navigates an ornate series of secrets and lies,
amusing and agonizing effect. High Fidelity tells of a pretending to be someone deceased, and developing
man-child Rob Fleming who, in an uncharacteristic fit her own close relationships with that dead woman’s
of self-examination, decides to conduct an autopsy of his friends. An extreme case, perhaps, but secrets can be
“top five most memorable split-ups.” found everywhere in fiction—extramarital affairs, secret
Along the way, we watch Rob ignore and discount his financial problems, secret plans, secret crushes. Apply
wonderful ex Laura, whom he claims doesn’t make it into this one liberally—the more the merrier.
his top five breakups. Meanwhile, he insists to the reader
that Charlie was the most devastating breakup, his great Technique #4: Characters in Contrast
love, but when he finally sits down with her to figure out HOW TO DO IT: In Charles Baxter’s essay “Counterpointed
what happened, he finds her dull. Another agonizing Characterization,” Baxter wrote: “Plot often develops out
scene: a woman he has a crush on comes into his record of a tension between characters, and to get that tension, a
store while he’s playing her music, and instead of being writer sometimes has to be a bit of a matchmaker, creating
complimentary, he abruptly turns off her music and characters who counterpoint one another in ways that are

fit for gossip.” So, pair an extroverted employee with an
introverted employer. Matchmake a sensible person with
Sometimes, it’s less about
a reckless roommate. Find your character’s dominant trait
and put them in proximity to someone with an opposing
having a map and more
trait—and watch what happens.
about having enough
WHY IT WORKS: Like characters making terrible choices
above, this technique is grounded in a character’s fuel (and tools) to get you
traits, so it works as an engine for both plot and
characterization. Interestingly, you often don’t even need where you’re going.
direct conflict between characters for this technique
to work. The introvert and the extrovert can align in
beliefs and goals, agreeing on everything. Yet, their situation forces people’s defense mechanisms into action
very natures will generate friction as the extrovert talks and pushes hidden conflicts to the surface.
over the introvert, or the introvert clams up even when
AN EXAMPLE: Ruth Ware’s latest novel, One by One,
something crucial needs to be said.
borrows a classic murder mystery trope to place a cast of
AN EXAMPLE: This contrast generates many ensemble- characters up in a frozen hotel where they’re picked off
based quest stories—from The Lord of the Rings to Star by an unknown killer. See also: The Shining, Murder on
Wars—where sharply different characters are thrown the Orient Express, and even the previously mentioned
in together to achieve a goal. But a favorite example Tana French novel The Likeness, in which Detective
is James Baldwin’s Giovanni’s Room. The protagonist, Maddox is stuck in a house with her suspects for most of
David, has denied his bisexuality throughout his life, the book.
wishing he were manly and heterosexual. In contrast,
his lover Giovanni doesn’t care at all what others Technique #6: Ticking Time Bomb
think. While Giovanni is tempestuous, David is placid. HOW TO DO IT: This classic of cinema—often a literal
Meanwhile, David’s friend Jacques, initially perceived as time bomb—is subtly applied in narrative writing. As
pathetic by David, is revealed as the most self-accepting, with other techniques in this list, it’s best to get the clock
compared to Giovanni or David. These three characters ticking as soon as possible and then slow down the story,
represent wholly different responses to the challenge so we’re trapped in exquisite agony while the minutes/
of being gay in the 1950s. Each fully themselves, the days/weeks count down. Employ this mini-bomb in
contrast between these traits creates an inherent tension. minor situations: a character is desperate to use the
bathroom and is stopped by their months-long crush.
Technique #5: Confined Physical Space These two have never talked before, and their crush
HOW TO DO IT: Look for realistic situations when you asks them what they’ve been up to recently … and—oh
can constrict characters’ movement and get them stuck no!—someone else is strolling in the direction of the
somewhere together for a while—even if the characters bathroom. Instead of resolving the situation quickly,
just can’t leave a house for a day or two or are stuck in hold it there for an agonizing page.
a car together for a road trip. Let the frustration grow.
You might be tempted to rush through the ensuing WHY IT WORKS: The principle is similar to confined
discomfort, but your job as a writer is to linger. This space: as time runs out, your characters’ options become
technique helps when paired with counterpointed increasingly scarce. The pressure builds and builds as the
characters and maybe even a request, but also accelerates window to resolve the problem shrinks and shrinks.
any existing tension.
AN EXAMPLE: Another Pulitzer winner, Andrew Sean
WHY IT WORKS: Anyone who’s experienced being trapped Greer’s hilarious novel Less is built around the protago-
in an elevator with strangers for even 10 minutes knows nist, a floundering novelist named Arthur Less, who,
exactly how this works. No matter how badly your overwhelmed by his ex-boyfriend’s upcoming wedding
character wants to leave, they’re not going anywhere. The invite, embarks upon an impromptu tour through a
consider the opening lines of Celeste Ng’s Everything I

Many of us are somewhat Never Told You:
conflict-avoidant, which Lydia is dead. But they don’t know this yet. 1977,
May 3, six thirty in the morning, no one knows
affects our writing, too, anything but this innocuous fact: Lydia is late
for breakfast.
when characters are We watch Lydia’s family members go about their
mornings, unaware of what they’ve lost. But we
always on their best already know, and we’re overwhelmed with concern
from the start.
behavior.
Pick and Choose
Finally, feel free to mix and match these.
series of random, generally unappealing literary events
Say you find yourself working on a book about a
around the world. All the while, the clock is ticking
character named Kevin whom you’ve thrust into a
down to this wedding, the very thought of which has
seemingly distressing situation—he has terminal cancer
thrown him into crisis.
and is lonely. But if for some reason you feel the story
is nonetheless lagging or losing tension, try adding in a
Technique #7: Take Something Away few—or more—of these techniques in a rewrite. It’s not a
From Your Protagonist simple revision, but it can make the story fly.
HOW TO DO IT: Your protagonist deeply desires a slot at
For example, maybe now Kevin has only a few months
Harvard and is proud of their straight-A record? OK, now left to live (ticking time bomb and taking something away
they’re failing junior year biology. Does your protagonist from your protagonist), and he’s gambled away all of his
love chess? Oops, debilitating migraines set in when the family’s savings (terrible choices). Of course, he can’t let
board’s set up. How the loss occurs doesn’t really matter, his wife know about this problem (secret) as she’s already
although if taken away by another person, you’ve just in distress. His wealthy shut-in uncle could provide funds
created an antagonist, which can be helpful. As with other (a request), but alas, his uncle hates him and adores
items on the list, if you don’t feel able to take something Kevin’s sister, Kiera—judgmental, deliberative, and a rule-
massive away from your character, a minor thing can follower, Kevin’s opposite (counterpoint characterization).
still work. They need caffeine to function in the morning, He must convince Kiera to team up with him (another
but the coffee machine erupted hot grounds all over the request) and drive to the uncle’s house (confined space), to
counter, so a frustrated daze sets in. convince the uncle to give Kevin’s soon-to-be widow some
Time to unleash your inner sadist! money (yet another request).
WHY IT WORKS: Comfortable characters are bland Next time you find yourself pacing around, hesitant
characters. We want to worry about our protagonist—it’s to launch into the next phase of your book, take a look at
your job to give us a reason to worry. Often, writers are your plan with this list in mind—it might just help you
told that they can cut the opening chapter or two from find a way through the darkness ahead. WD
an early draft of novel—because those chapters take
place when the protagonist is perfectly fine, before things
start going badly for them.
AN EXAMPLE: That moment when the proud, dedicated
Peter Mountford is a novelist and writing coach whose work has
detective is thrown off the case (or better yet, thrown off
appeared in The New York Times (Modern Love), The Atlantic, The
the police force altogether) comes to mind, but there’s Paris Review, and elsewhere. Author of the award-winning novels A
no end to the ways this can be employed. So many books Young Man’s Guide to Late Capitalism, and The Dismal Science, he
begin with great loss. For an unusual but powerful case, is currently on faculty at SNU’s MFA program.

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Find Your
Creative FLOW
How do writers find the sometimes elusive “flow”
they often talk about? Gabriela Pereira of DIY MFA

has a framework for finding and maintaining creative
flow, no matter your goals.
B Y G A BR I E L A P E R EI RA

P
eople talk about reaching “flow state” with their make empowered choices and eliminate distractions, so
writing, but rarely does anyone tell us how to we pursue projects that play to our strengths and make
find that flow in the first place. Plenty of books, our hearts sing. The most direct way to develop our focus
websites, and other resources teach us about the craft of is by setting goals and seeing them through.
writing and the publishing process. Yet, when it comes to
getting those words on the page, the advice we usually get Goal-Setting for Writers
is BIC: backside in chair. Goals give us a metric to measure our progress. They
The idea of churning out words through brute force allow us to assess how far we have come and whether
can be daunting, especially when we find ourselves at we are going in the right direction. While most writers
a creative crossroads. What we need is a framework, will benefit from some form of goal-setting, the method
a method that gives us structure and addresses those we choose will depend on our individual style. The goal
peripheral aspects of the writing life, like motivation or mountain method is for writers who like structure (i.e.,
resilience. The Creative FLOW approach is designed to the plotters among us), while the value pyramid is more
fill this gap so you can get words on the page and keep free-form and will likely resonate more with “pantsers”
writing, even when life presents challenges. At the heart (i.e., people who write by the seat of their pants).
of the framework is the acronym FLOW, where each
letter represents a different aspect of your writing life. The Goal Mountain Technique
Each area has specific techniques and exercises, to help This technique works best with big projects, like writing
you reach that flow state and flourish as a writer. a manuscript or publishing a book. The mountain serves
as a metaphor and helps you break that big task into
F = Find Your Focus smaller, more manageable increments.
L = Live Your Learning First, decide which mountain you need to climb.
O = Overcome Your Obstacles The mountain is your big vision, the long-term goal
W = Work Your Words you want to reach. This vision anchors your progress
and helps you stay focused on your goal. It does you
Find Your Focus no good to scale Everest if the peak you really want to
Focus is the foundation of all creative work. Without it, we reach is Kilimanjaro.
might end up working on projects that never get finished After you decide on the mountain, you need to deter-
and we may take action steps that don’t lead where we mine a plant-the-flag moment. This should be something
want to go. Focus is what helps us choose the right project concrete—like holding the finished book in your hands—
at the right time and also tells us if we need to walk away. and it lets you know you have accomplished what you
It shields us from distractions and helps us avoid “shiny set out to do. Success can be hard to quantify, and every
object syndrome,” where we constantly chase new sparkly writer has their own definition of it.
ideas and never bring them to completion. The next step is to reverse-engineer your milestones.
There are many tools we can use to bring focus to Think of these as campsites where you will stop to
our writing. Some allow us to find balance between our rest along the way. Keep in mind that strategic choices
writing and other aspects of our lives. Others can help us will affect your pathway up the mountain and alter
your milestones. For instance, a writer whose goal is a • Describe your ideal day.
traditional book deal will have different milestones than • What does the world need more of?
one who chooses to self-publish. Both writers might be
climbing the same “getting published” mountain, and STEP 2:After you have finished writing, go back and
they may even have the same plant-the-flag moment (i.e., reread your answers. Highlight words or phrases
holding their finished book). Their milestones and their that jump out at you. Look for recurring themes that
paths up the mountain, however, will be quite different. represent who you are and what you stand for as a writer
The last step is to map out individual action steps. and as a person. Try to identify at least 10 words or
These are the incremental steps—your project “to do” phrases and make a list.
list—that will get you from one milestone to the next.
STEP 3:Next, sort the items on your list into a pyramid.
As with the milestones, the best way to figure out your
Begin by choosing your top six items and writing each
action steps is to start from the next milestone and work
one on an index card. Divide the six cards into two
backward. When you reverse-engineer your action steps,
groups: the top three and bottom three. The bottom
you avoid aimless wandering and are better able to reach
three cards will form the base of your pyramid. From the
your goal.
remaining three cards, proactively choose the one that
resonates with you the most. This card goes at the top of
Big Vision the pyramid, and the remaining two cards will fill in the
middle row.
STEP 4: Leave the index cards out for a few days and
make adjustments as needed. Once you feel satisfied with
your values pyramid, snap a photo or affix the cards to a
Milestones poster board and hang it somewhere visible.
While the values pyramid is not a detailed step-by-
step plan like the goal mountain, it can serve as a filter,
helping you choose projects or make decisions about
your career. For instance, if “joy” is at the top of your
values pyramid and your current project is angsty or
heavy, you may want to examine it more closely. Perhaps
Action Steps you want to change some part of the story to infuse it
with more joy. Or maybe you decide to keep the project
as it is, but find ways to add joy in other areas of your
Climb the Goal Mountain (© DIY MFA) writing life. When you use your values as a filter—either
for your writing projects or in your author platform—
Values Pyramid you are more likely to stay true to your voice and present
For this exercise, you need six index cards or sticky notes, a your authentic self to your audience.
highlighter, and your favorite notebook and pen. You may
also find it helpful to take short breaks between each step. Live Your Learning
As writers, we must challenge ourselves to try new
STEP 1: Begin by free-writing your answers to the
techniques and refine our craft. This process of
questions below. Don’t overthink this part of the exercise;
continuous learning allows us to develop new skills—like
just get the ideas on the page. You can consider the
marketing or building an author platform—and helps us
questions both in terms of your writing and your life in
adapt to changes in the industry. The tools in this section
general. Give yourself at least 15–20 minutes for this step.
of the FLOW framework help you embrace a meta
• What does success look like for you? mindset and think about your thinking. When you do
• What do you most want to achieve? this, you will notice places—in writing and life—where
• What’s on your bucket list? you can learn and grow.

tell which variable might be helping (or hindering) your
“Ever tried. Ever failed. process. When you get to the end of the VITAL cycle,
you can go back to the beginning and start the process
No matter. Try again. Fail again with a different input variable.
again. Fail better.”

Variables
—SAMUEL BECKETT
Iteration Is VITAL
We often associate iteration with the technology sector.
Learning Information
Someone has an idea for a new gadget, they build a pro-
totype, then make adjustments based on feedback from
users. We don’t need to work in Silicon Valley to reap the
benefits of iteration; in fact, we can make it a part of our
regular writing process. To “fail better” as writers, use the
acronym VITAL. After all, iteration is vital to innovation.
V = Choose your input and output variables.
I = Collect information. Analysis Tripwire
T = Set a tripwire.
A = Analyze and evaluate the results.
Iteration is VITAL (© DIY MFA)
L = Learn and decide what’s next.
Begin the iteration process by choosing your input and Overcome Your Obstacles
output variables. The input variables are conditions that Unlike the previous sections which provide tools for your
might affect your writing, such as time of day, location, everyday life, this part of the framework is designed to
or listening to music. The output variable is the result and help you through times of creative crisis. In these difficult
should be something measurable and objective, like how moments, don’t worry about reaching a new goal or opti-
long you wrote or how many words you put on the page. mizing your process. Your only job is to solve the prob-
If want to get fancy, you could even track both time and lem in front of you and get past that obstacle. This section
word count to calculate your writing pace. includes tools to help you get past writer’s block, silence
The next step is to collect information or data, which your inner critic, or—in the case of the next exercise—
means recording your input and output variables for a help you find inspiration when ideas run dry.
series of writing sessions. You can decide the frequency
of these sessions and how you fit them into your Creative Survival Kit
schedule. Try to record at least 10 data points so you Put together a survival kit with items that will help rekin-
have enough information to see a pattern when it comes dle your creative spark. Think of this as a first-aid kit
time to analyze the results. for your mind, so collect things that will nurture your
The tripwire is a signal you set for yourself to indicate creativity, inspire new ideas, and help you feel energized
when you stop collecting data and start to analyze the results. and excited to write. Items in your kit might include:
It could be as simple as a deadline or you can get creative. story generators (dice or a card deck), a pocket-sized
For example, if your local coffee shop gives you a punch book of writing prompts, an image file with interest-
card, you could do writing sessions until you fill the card, ing postcards or photos, a random word box, inspiring
then treat yourself to a freebie while you analyze the data. quotes, an energizing playlist, a stress ball or fidget spin-
The last part of the iteration process is where you ana- ner, and even a scented candle or essential oils blend.
lyze and learn from your results. Remember to test one Find a special container for your survival kit and keep it
input variable at a time; otherwise, you have no way to near your writing space.
Work Your Words the health condition. We would never say that someone
Until now, we have looked at internal aspects of the cre- is cancerous; we say they have cancer. On the other hand,
ative life, but art doesn’t exist in a vacuum. Sooner or many will say a person is schizophrenic or diabetic, con-
later, we’ll need to share our words with the world, and ditions which are more likely to carry a stigma. As writ-
when that happens, we open ourselves up to criticism and ers, we have a responsibility to be precise in our language
rejection. This final component of the FLOW framework and not confound a person’s identity with their physical
focuses on interpersonal communication and how you or mental health.
present yourself to the world. When you communicate
effectively with others and use your language with preci- Causality vs. “Alongside”
sion and clarity, it will shift your mindset which in turn Another verbal blip I often hear is “Wow, you’ve accom-
will affect how you show up to the page. plished so much despite having bipolar” or “It’s under-
standable you haven’t finished writing the book, what
Reframe Your Language with being a mom and having so much on your plate.”
The words we use can affect our relationships with loved Again, the sentiment behind these comments isn’t mali-
ones, peers, and professional network. Yet language also cious, but it implies causality when there is none.
has a profound impact on our own thoughts, emotions, When we use words like because or despite to talk
and actions. If we want to change people’s hearts and about someone’s success (or failure), we negate their
minds—including our own—language is one of the most agency. Never mind all the hard work or the difficult
powerful ways to do that. The best part is that it also tradeoffs they might have made; the result hinges on
plays to our strengths as writers. their health or life circumstances, and these aren’t always
things a person can control.
Stop Calling Yourself an “Aspiring” Writer This isn’t to say that it’s easy having bipolar disorder
You are a writer. Not an aspiring or wannabe writer. It or juggling two kids plus a career. We all face challenges.
doesn’t matter whether you’re new to the craft or have We all have constraints that impact our writing. And like
been working at it for years. If you write, you are a writer. the protagonists in our stories, we can also make choices.
This qualifier is especially insidious because it most It is far more empowering to consider success (or failure)
often precedes creative careers, but would never be used as something that happens alongside the constraints in
with more traditional jobs. You never hear someone call our lives, and not because of—or in spite of—them.
themselves an aspiring plumber or neurosurgeon, but
we will readily claim our “aspiring” status with respect The Journey Continues
to writing. The FLOW framework doesn’t replace the on-page work
This word acts as a safety net, a way of hedging our we must do to improve our craft. Instead, it’s designed
bets so we aren’t disappointed if we fail. Yet when we use to fill in those gaps around our writing, to amplify and
that qualifier, we undermine ourselves and chip away at support our creative work. When we find our Creative
our own confidence. If we want others to read our books FLOW, we can finish our projects and reach our goals.
and respect our work, we must start by respecting our- We can build skills through continuous learning, survive
selves. This means we must drop the “aspiring” and fully creative drought, and present ourselves—and our writ-
step into that role of writer. ing—to the world with confidence.
NOTE:This article represents a small sample of the FLOW
Be vs. Have
framework. For more information and a downloadable
A few years ago, I began openly sharing my experi-
roadmap, go to DIYMFA.com/wd-flow. WD
ence with bipolar disorder, and many people responded
by saying, “You’re so brave to share that you’re bipo-
lar.” While I appreciate the sentiment, it’s problematic
Gabriela Pereira is an author, speaker, and entrepreneur who wants
because it implies that my identity and my mental health to challenge the status quo of higher education. She is the founder
are one and the same. Even worse, this verbal mistake and instigator of DIYMFA.com and author of DIY MFA: Write With
happens most often when there is a stigma attached to Focus, Read With Purpose, Build Your Community (WD Books, 2016).

11 Writing-Career
Crossroads
Writers will face numerous career-altering
decisions during their writing lives. Here’s one
author’s advice for navigating those choices.
B Y E L IZ A B E T H SI M S
IMAGE © GETTY IMAGE: GREMLIN
H
ow did it start? Maybe a teacher declared you to found they can get part-time instructors, a.k.a. adjunct
be a good writer. Maybe a parent encouraged. professors, for next to nothing, in the liberal arts.
You entertained your friends with well-told But what if we’re just talking about a B.A.?
jokes. Your vocabulary was somehow better than theirs. Take this into account: Easier now than ever, you can
You loved reading. Without really knowing it, you study literature and writing on your own. It’s a cinch to
absorbed the rules of basic grammar. read reviews and choose good books to read; it’s super
You wrote something. A poem, maybe. Then a few easy to study the foundations of good writing on your
poems. A story. A bad story, probably. But it wasn’t all bad. own. Cheap and even free tutorials and classes abound.
You were on a path. You realized this. That’s what True, it’s a joy to read, write, and think under the
mattered. Being on the path, moving forward, was guidance of an accomplished professional. But pah-lenty
enough for now. Two hundred, 300 words at a time. of successful writers, including journalists, have never
500! 1,000! seen the inside of a college seminar room.
But then the question arises: Shall I try to put this work By contrast, it’s much harder to learn a creden-
out into the world? Try to get something published? tialed profession or even a trade on your own. If you
Something has changed. have a credential or certification, you’ve got a good
You’ve encountered your first crossroad. chance of earning a decent living (and paying your
If you’re serious about writing, it won’t be your loans back) as soon as the band stops playing “Pomp
last. It will, in fact, be merely the first of innumerable and Circumstance.”
crossroads, by turns challenging, confusing, frustrating,
compelling, glorious, and back to challenging again. Crossroad 2
After writing 10 novels, numerous other works of Should I try for publication?
fiction and nonfiction, and been published by major
and minor houses as well as independently, I’ve Of course. That’s the easy part.
encountered just about every writing-life crossroad At the age of 17, Truman Capote (Breakfast at
there is. I’ve switched genres, written for magazines, Tiffany’s, In Cold Blood) received his first three short-
taught writing, gone through dry spells, taken on story acceptances in one day. What does this tell us? That
freelance editing and consulting, kept on writing, the not only did he write and write and write, he submitted
whole cheeseburger. and submitted and submitted.
Every crossroad amounts to one thing: a decision. Each submission involves multiple decisions. Where
When you understand that key fact, you’re already in to send this? Is it ready? Is it ready enough? The more
control, not that that makes any of this easy. Here’s how you write and submit, the better you’ll get at making
to recognize crossroads, deal with them, and thrive. these judgments.
Short stories, poems, and articles require no literary
Crossroad 1 agent. You send your stuff in, according to the guidelines
Should I devote myself to literature and writing in for each publication. It gets complicated when you have
college or go for that STEM degree to fall back on—or to decide how long to try. Read on.
start out with?
Crossroad 3
As one of the few who majored in literature and writing
Should I try to write a book?
and had it work out, you’d expect me to say, “Immerse
yourself in literature and writing and let the devil take Yes. Although writing a book is a macro endeavor,
the rest.” I say do that if you intend to go all the way to a deciding to write a book is a micro choice. You know
Ph.D., and if market conditions look favorable for getting you’ve got to give it a shot.
a teaching position. Teaching at the college level is a
cushy job with lots of time off. But I can tell you right Crossroad 4
now, market conditions are rarely favorable for Ph.D.s I’ve finished my book. Should I try for a publishing
in literature and writing. Colleges and universities have contract?

Although many authors have achieved success self- a hit novel which was made into a hit movie. The success
publishing, the dream of landing a fat contract—or any of the book and movie changed his life, bringing him
contract—from a prominent publisher is still alluring. massive celebrity and fortune. The result wasn’t altogether
If you feel that pull, go for it. You can give yourself a happy, as the fame and money poured fuel on Dickey’s
limit of X number of months to try for an agent. Be alcoholism and misbehavior. But he continued to write,
aggressive and query five or 10 or more agents at a time. teach, and try to get his life together.
If no agent, you can submit your manuscript on your
own to publishers. Even some of the bigger ones accept Crossroad 6
unagented submissions. If no luck either way, you still I’m a published author, but now I wonder if I’d do
have the option to self-publish. better on my own.
But if you self-publish first, no publisher will want your
Given the possibilities for self-pubbed authors—sales
book after that. Unless, of course, your self-pubbed book
platforms, social media to connect with readers, indie
is making a huge splash and big money, in which case no
marketing companies to help you figure it out—it’s never
publisher’s offer is likely to bring you more money and
been a better time to try.
exposure than you’ve already earned on your own.
You might have the opportunity to be a hybrid
author, as I’ve been, where a publisher brings out some
Crossroad 5
of your work, and you bring out the rest. There’s really
I’ve achieved some success, but I want more. Should I
no downside. Sure, there’s plenty of drudgery in running
switch genres?
your own show, but at least you’re the boss. And it can be
Many of us get a foothold in the business with a small lucrative, no doubt about it.
publisher. Then, once established, you branch out The key to indie success is building a backlist. If you
and produce newer, ambitious work that attracts a can craft a series you love to write (or more than one
bigger publisher. series!), you could do very well.
I sold my first few novels to the leading LGBT
publisher of the time. Then I wanted to see if I could Crossroad 7
write for a wider market. I moved into mainstream I’m feeling lost and stale, and I see no signposts on the
fiction by writing some, then finding an agent who horizon at all. I’m just plodding along.
placed the books with a major publisher. I’ve continued
Bored with your writing career? You have the freedom
to write both LGBT and mainstream fiction.
to create a crossroad. If you’ve been writing fiction,
Nothing against small publishers! Lots of authors
consider writing some nonfiction, journalism, memoir,
feel more comfortable with a smaller house, and some
scripts. If you’ve resolutely avoided fiction, find some
authors who go with a big house find themselves lost
story-writing prompts online and see how you do. Go
in the midlist shuffle. I might add, though, no matter
after new experiences unrelated to writing. Meet new
what sort of publisher you end up with, you are never a
people. Shake it up. Ours is a business founded on equal
member of the team; you are part of the supply chain.
parts talent and chance. It’s not fair at all. It’s glorious.
That’s life.
Most of my author friends have jumped into other
Crossroad 8
genres from where they started. Some jump back, but
I took a hard turn that ended in a blank wall. Do I go
nobody has regrets about it. If you feel another genre
backward or what?
could foster your career in any way, give it a shot.
As a more prominent example in genre-shifting First, make sure that dead-end is really dead. Something
and audience-expanding, James Dickey wrote poetry, that can transform a barricade into a perfectly fine
one collection of which (Buckdancer’s Choice) won the path is to simply finish the thing. Write that play or
National Book Award. He was also the Poet Laureate of book to the end; do what you have to do to bring it to
the United States from 1966–1968. Through and through, completion. Then decide whether it’s dead. You might
it seemed, he was a poet. But then he wrote Deliverance, be pleasantly surprised.
Or, well, you might realize all you’ve produced is a

stack of dirty paper.
Ours is a business founded
You can retrace your steps. You can pull over for a cup
of coffee and study what scraps of a map you might have.
on equal parts talent and
You can remember how tempting a particular road looked,
but it wasn’t the right time for it. Or maybe it looked totally
chance. It’s not fair at all.
boring then. You passed by, but now you’re more mature,
more experienced, and perhaps ready to return to that
It’s glorious.
gravel track into the woods and see where it leads.
No matter what you do, you won’t get it right every Speaking of marketing, there may come a time when
time. The dreary trough of doubt and the dark beast of you feel torn between writing what you want to explore
regret lurk for all of us. and thinking you ought to write something that a
Everybody has the right to wallow in self-recrimina- marketing guru says would sell better. How to balance
tion, grief, sadness. If you’ve really screwed up, take the the need for commercial success with the need for
time you need to slosh about in self-pity. Eat the whole personal satisfaction? Given how easy it is to find readers
batch of cookie dough. Overspend on new sweatpants. online these days, I’d lean heavily towards writing what
Stare blankly at the TV. gives you the most satisfaction, then finding a way to
All of that is OK. Because even if your product is market it. At the least, your heart will be in it, and that
unsaleable, or just too embarrassing to publish, you’ve counts for a lot.
learned a lot along the way. Maybe this seems nauseat-
ingly buoyant to you, but it’s true. Crossroad 10
Take your experience and wander off. Should I quit my day job?
You’re marvelous. Because I said so. This is a big one. If you’re doing very well financially
with your writing, the choice could be easy. If you’re not
Crossroad 9 doing well but think you could if you wrote and worked
I’m at the point where I’m supposed to worry about on your writing career full-time, that comes with much
marketing. Do I carve out time for it, and if so, more risk. My best advice here:
how much?
• Construct a safety net.
There have been countless books written and pods cast • Resolve never to lie to yourself.
about book marketing. Though a full treatment of this is • Work like hell.
impossible here, I offer three keys:
• Don’t expect to be able to jump on every marketing Crossroad 11
bandwagon that comes along. Each iteration of This whole thing has turned out to be a disappoint-
digital marketing debuts with dire urgency and ment. Should I quit?
counts on FOMO (fear of missing out) to gain Maybe after a great deal of effort on the query process,
subscribers. It’s OK to consider carefully before you’ve found no agent or editor who wants your book.
committing to some new opportunity. Maybe you self-publish, and maybe not many readers
• You have to do at least some marketing, whether it’s buy it.
just building a website and a presence on one social Should you step off the road? Maybe you’re throwing
media platform, or full-on paid ad campaigns. You good effort after bad. How do you know?
have to get yourself and your material out there. The answer is, you don’t know. But lots of writers
• Your daily priorities should be, in order: need time to develop and grow, and you do that by
• Writing persisting. You write and continue to read. If your fire
• Marketing burns out, you’ll write less. Eventually, your output
• Goofing off slows to a trickle, then stops. This happens naturally.

MORE FOR THE JOURNEY
• A key tactic is to make decisions with a minimum of • Figure out what you want. I sometimes consult
angst. We manufacture angst when we’re afraid we’ll my collection of Paris Review interviews, in which
make a mistake. Angst is a gumption trap: the endless accomplished writers answer questions about their
weighing of options, objections, until all doubt is work, craft, and art. While leafing through them in
vanquished. If you have to know the outcome before preparation for writing this article, I found one thread
committing to a path and it’s impossible to know, that went through every interview: the writers knew
then you just sit there. If you sit there long enough, what they wanted. What one wants can certainly shift.
you’ll rot into the landscape. Recognize this, and We learn, we try new things, we succeed, we fail, we
accept mistakes here and there as the price of relaxed grow. But if you can keep your target in sight even if
forward motion. it moves—that’s it. You’re home before you know it.
• A deadline can help you get moving. Deadlines from What did those Paris Review authors want? Among
publishers are especially motivating. We need this other things:
book by next April. You got this, right? Alternatively, • Develop their talent.
set your own deadlines and go after them. • Present a story in an entirely new way.
• Perfectionism is your enemy. Dump it. • Escape from earning a living washing dishes,
• Making choices takes energy. Mental and emotional. calculating actuarial tables, selling Dixie Cups
Just realizing this is a good thing, because then you door-to-door.
can allow for it. If you feel worn out without knowing • Find a place among other creative people.
why, consider taking a rest, mentally and emotionally.
The fire may return, in which case you’ll resume. This of the 1950s and 1960s were successful and attracted
one sorts itself out. significant figures in art and politics, which led to
Sure, you can force yourself to keep writing. But Baldwin’s activism in the civil rights movement. Many
if your heart isn’t in it, you’re just going through the choices, many crossroads presented themselves to him:
motions. There’s a difference between this and persisting he moved around, from New York to Paris, back to
in the face of doubt. New York, to France, Switzerland, and Turkey. In spite
As a small child, Katherine Anne Porter (Pale of heartbreak and opposition, Baldwin kept sight of his
Horse, Pale Rider; Ship of Fools) ran away from home goals. He burned to make people read about his struggles
constantly. Her folks always found her in short order. and the struggles of others; he hungered to make sense
When she was old enough, she ran for real, because she of his life; he yearned to be taken seriously. Those are the
wanted to see the world. “The thing is to accept your things he went after, and he kept writing.
own life and not try to live someone else’s life,” she said. Other authors, before they settle on a clear path,
We must face our own nature. explore: try out this and that, perhaps needing a regular
job to keep potatoes on the table. Perhaps acquiescing to
There Is No End expectations from others: parents, teachers, lovers. But
Writing-career paths are so individual, there really are no sooner or later, you know. The fact that you’re reading
charts or scrolls packed with incontrovertible wisdom. this says you have a pretty good idea.
No boss to check on us and offer veteran advice. No And in the end? There is no end. For us, the journey
benevolent parent, no warm hand to hold. is the destination. WD
Few authors had it tougher than James Baldwin (Go
Tell It on the Mountain, Giovanni’s Room). Born to a
single mom and saddled with an abusive stepfather, Contributing editor Elizabeth Sims (ElizabethSims.com) has been
Baldwin started out being a preacher, but he wrote too. writing for WD since 2006. Her latest novel is Tight Race, book six
His fiction and essays published in the pivotal decades in the Lillian Byrd Crime Series.
So You Want to Quit

Your Day Job
Writing frequently starts as a second job or hobby for

many authors, but with planning and preparation, you
can create a game plan to write full-time.
B Y WHI TN E Y H I LL

I
t’s the dream for many writers: quitting the job (or reinvested in the next book so you’re not paying out of
jobs) that pays the bills and writing full-time. pocket? Paying yourself as the author comes after any
The unfortunate fact is, writing alone doesn’t pay reinvestment needs.
a livable wage for many writers and authors, especially Other writers will need to consider things like how
those early in their careers. Even traditionally published many deliverables need to be written to hit an income
bestsellers and award-winners aren’t able to quit their day target, how quickly invoices will be paid, and how many
jobs right on getting an advance—and if you followed the clients will be needed to ensure steady and reliable work.
#PublishingPaidMe discussion, you’re aware that there are For anyone who is self-employed, money coming
vast disparities between the advances paid out. in isn’t the only concern. There’s also the tax angle.
For indies and self-published authors, smaller or That means:
no advances can mean an even longer journey to that
dream of quitting the day job. However, the dream is still • Setting aside money to ensure you have enough to
possible to attain with work and preparation. cover estimated tax bills
At the most basic level, quitting the day job means • Learning local tax codes and requirements
becoming self-employed. So, what goes into making • Remembering to make quarterly payments
it work? • Or, paying an accountant to take care of all that for you
Regardless, it’s money going out that needs to be

Practical Considerations
Dreams come true when they’re grounded, at least accounted for in advance—and again, before paying
somewhat, in reality. Every rocket needs a launchpad. yourself.
Some of these grounding factors will be obvious, but
there may be some that come out of nowhere either Emotions
immediately or once you think you’ve settled into your Being self-employed can be a roller coaster of emotions.
new situation. All of them fluctuate over time. If you’ve only ever worked for other people or companies,
being completely in control of your own time and effort
Money can come with feelings ranging from exhilaration to panic.
Let’s address the big one: money. Unless you find a gener- There’s nobody to tell you what to do! You can
ous patron, you’ll still need to pay rent and bills. Rainy day set your own hours! But you also have to own the
savings and retirement funds need to be considered. Then responsibility and accountability of setting your own
there’s insurance, business investments, lifestyle … schedule and managing your own deliverables.
When was the last time you really broke down how Having systems and supports in place to manage
much you were spending and where? When you’re no both the highs and the lows is important. Creating
longer employed by someone else and give up the rela- mechanisms whereby you feel safe celebrating your wins
tive predictability of a paycheck for the greater freedom is just as important as creating enough of a safety net that
and potential of self-employment, you’ve got to have a you can keep going during downturns.
solid relationship with your money.
Traditionally published authors may be able to count Prep
on advances, but a rare few get enough of one to cover While we don’t always have the luxury of planning ahead
living expenses through the full publishing cycle— to exchange one income situation for another, taking
especially with advances being split into increasing advance steps can ease the transition regardless of where
numbers of payments over more years. And until those
we are in the journey to do so.
books earn out, there are no royalties coming in.
Some questions to consider:
Self-published authors have a two-fold consideration:
first, how much do you anticipate earning on a monthly • How will you structure for tax purposes? (DBA,
basis? And second, how much of that will have to be LLC, etc.)
• Will you do work other than writing books or scripts, In other words, not on the work we’re meant to deliver.
like freelance or contract writing gigs, speaking, cre- There’s also Parkinson’s Law to consider, which says
ating courses or workshops, or setting up passive that work will fill the time allowed for it. Could you cut
income streams? your productive working time to four highly focused
• How will you promote yourself? (Website, social hours over four days, and leave more time for the kinds
media, job boards, networking?) of activities that refill your creative cup?
• Where can you get started on building up a portfolio Furthermore, we’re surrounded by hustle and grind
and contacts now? culture. But multiple studies show that after 50–55 hours
of weekly work, productivity and effectiveness drop
One last thing: pipeline. What are you planning
dramatically. Not taking at least one day off per week
to publish or submit next month, next quarter, and
also spells trouble. But when we’re self-employed, it can
next year? For self-published authors in particular, a
feel like not putting in big hours seven days a week is
consistent publishing calendar will help with staying on taking money out of our own pockets.
track, better predicting income over time, and keeping This goes back to the emotional consideration
readers satisfied. discussed earlier, but it also connects to the money
Regardless of how you publish, keeping a notebook consideration: If you are continuing with a 40-hour
or Trello board of ideas helps ensure you’ve always got week, is all that time spent in the best places?
something for the next book or article, thereby keeping There are tools and apps that can help with this.
your pipeline full. Beyond ideas, also consider growth For example, if you’re writing books, freelancing, and
areas (i.e. different formats, genres, or topics), pitch consulting, you can track the different activities in Toggl.
markets, and income streams. Apps like Forest keep you off your phone, while also
allowing a granular breakdown of where time is spent.
How You Really Spend Your Time Others prefer methods like the Pomodoro Technique.
So with those realities covered, let’s get to the next part: Find one that works for you.
how you really spend your time. Writing all day sounds Also remember to check in monthly or quarterly to
amazing! But there’s more to being a self-employed writer see where you’re spending the bulk of your time. If it’s
than just writing—even if we set aside the mental and not on the tasks that are making money, looking at ways
physical demands of spending hours writing every day. to decline, delay, or delegate those tasks can help get back
Being self-employed is being a small business. That’s into balance.
not just writing; it’s also accounting, legal, marketing, These questions about time present another facet to
sales, IT, and production. That idea of writing all day consider: project management.
needs to be balanced with the work that supports getting
the words out into the world. Project Management
Additionally, many of us have become accustomed to Regardless of what you end up doing when you
an eight-hour day (or longer). quit your day job, there are ways to structure your
But how do we really spend that time? And is that newfound freedom. Having an understanding of project
how we want to spend time? management can help conceptualize options for how
First of all, many of us don’t really spend all eight or to allocate the time and money which becomes entirely
nine hours of the working day working. “Work” time is yours to manage.
likely also spent: Project managers typically break down the overall
project into three components: scope, cost, and time.
• Eating, chatting, phone scrolling, or hiding out in
the bathroom • SCOPE:This covers, in essence, what you’re planning
• Taking care of children, elders, pets, or other to do. For a writer, it might cover things like word
dependents count, formats, the number of reviews or revisions,
• Refocusing after interruptions or other deliverables and expectations.
• Job searching • COST: The resources available and budgeted for the
• On side gigs project. Writers might factor in any costs associated

with writing, publishing, research, travel, and so So, what are some areas you might work on, or at least
on. Investments in training or software to support take note of? This can be an empowering exercise—think
a particular project might factor in as well, or of it as building your best life!
resources like editors.
• TIME: Deadlines are probably the first element of Staying Relevant and Engaged
“time” that comes to mind. But there are also mini- Last but not least, let’s talk about the larger human
milestones, like time to completed draft, editing time, element to self-employment.
and so on. Part of many modern workplaces is the idea of
the business as a “family” or an emphasis on social
At the core, of course, is balancing all of this in such
activities and team building. However you feel about
a way that you don’t sacrifice quality. Determine which
that, the reality is that a day job is the focal point of
of these is most constrained, where you have more
socialization—good and bad—for many people.
flexibility, and which has the greatest impact on quality.
Initially, making the transition to self-employment
When you’ve found the sweet spot, stay open to
and full-time writing can be a relief. No more of the
review and adjustment as your circumstances change. It’s
negative interactions! But without conscious effort to
easy to fall into a rhythm, but that rhythm can become
build the kind of meaningful connections that both refill
a rut if you’re not careful—especially when you’re doing
our cups and provide new fodder for our writing, we can
well and feeling comfortable.
struggle mentally and emotionally.
Sometimes, being a hermit is a good thing. Having
Growing Into Your New Role
the space and freedom to completely close off and go
Speaking of being comfortable, let’s talk about growth.
hard on achieving a milestone or goal is great. But
Growth can be decidedly uncomfortable, but ongoing
setting objectives and an endpoint for isolation can
skills training is part of many jobs. Stepping out of your
support a healthy management of personal time and
comfort zone to learn new skills, level up your writing,
social engagement.
seek new opportunities, or make new connections is key
This idea can apply to both physical interactions and
to continuing success.
virtual. Many writers and authors feel pressure to be on
In waged or salaried employment, skills development
social media, constantly engaging and promoting them-
often follows the needs of the business. For all the
selves. Some are energized by it—but their work suffers
challenges of self-employment, one of the great benefits
from the distraction. Others feel drained and want to
is the complete freedom to structure your own time,
withdraw. Evaluating and making conscious decisions
pursue what interests you, and develop in directions that
about how to engage is key to managing your energy
excite you.
effectively and in such a way that you stay visible to those
As you’re considering whether to quit your day job,
with opportunities to offer.
think about what skills would benefit the direction
you’d like to go in. You’ll need to market yourself as a Healthy balance is key to so much about the choice and
writer—maybe a digital marketing course could be a transition of quitting the day job and succeeding as a
good pre-quit investment. Or attending a conference self-employed writer. Taking the time to plan out practi-
to learn about different income stream opportunities cal considerations like time, money, and a work plan can
and make connections. Take inventory of the skills you smooth the process and make the dream achievable. WD
have now and those you might need to go it alone, then
look for opportunities to develop those skills before you
make the jump.
Personal development can be as important as Whitney Hill (WhitneyHillWrites.com) is the author of the Shadows
professional (writing) development. At a day job, of Otherside fantasy series and the Otherside Heat paranormal
it’s easy to focus on (or blame) the external factors romance series. Her first book, Elemental, was the grand prize
winner of the 8th Annual WD Self-Published E-Book Awards. Her
impacting mood, performance, and outcomes. When second book, Eldritch Sparks, was one of Kirkus Reviews’ Top 100
you’re self-employed, you’re your own boss and you Indie Books of 2021. You can find Whitney hiking in state parks or
choose your workplace. on Twitter and Instagram @write_wherever.
THE
WD INTERVIEW
Silvia Moreno-Garcia
S
ilvia Moreno-Garcia is a novelist who never likes to entertaining. It’s also a thought-provoking exploration of
write the same book twice. And if you’ve read more gender, race, class, colonialism, and family—something
than one of her novels, you know that’s true. Since fans of any one of her other works will recognize.
her first novel, Signal to Noise, was published in 2015, Moreno-Garcia spoke with WD in advance of the
she’s tackled inter-species vampire conflict (Certain Dark book’s publication, beginning with the inspiration for
Things), ancient Mayan gods coming back to life (Gods of the story.
Jade and Shadow), con artists in a Mexican tourist town
(Untamed Shore), a gothic house trapping its inhabitants What appealed to you about using The Island of
(the New York Times-bestseller Mexican Gothic), and a Dr. Moreau as the starting point for your novel, and
young woman unwittingly caught between the CIA and a what did you know you wanted to do differently
Mexican government-backed gang (Velvet Was the Night). than that book?
Moreno-Garcia’s work often lives at the crossroads I had toyed with the idea of doing something related
of multiple genres, including horror, science fiction, to The Island of Dr. Moreau for a few years, but I hadn’t
fantasy, noir, neo-noir, coming of age, and historical found a way to make it work. The stumbling point
fiction. It’s something she says has caused difficulties was the setting. It’s set on an island; I’ve never lived on
in her writing career, “…because switching genre does an island. I just couldn’t imagine writing that kind of
present challenges for marketing and selling a book. You setting. I kept going back to not being able to picture
are expected to kind of specialize in a certain niche. Even what I might be doing. Even though I had a few ideas,
if, let’s say, you’re not doing sequels, but you’re a crime not having the time and place well-defined prevented
writer or you’re a romance writer, when you are moving anything else from happening. So, I just jotted some
around as much as I do, it does present the issue of notes and left it there.
audience building. Is this audience that you built going Then a few years ago, I was watching a black-and-
to follow you to a different genre or not?” white movie that is called The Black Cat, and Bela Lugosi
In her newest novel, The Daughter of Doctor Moreau, is in it, it’s this kind of early talkie. I remembered as I was
Moreno-Garcia ventures into the historical science- watching it and was looking at the cinematography and
fiction realm of vivisection—the biological and physi- the set that this was also the time period when they had
cal manipulation of animals into animal-human hybrids filmed an adaptation of The Island of Dr. Moreau in black
who, in this case, are capable of talking and complex and white. I don’t know if it was the first one, but it was
thoughts. Inspired by the 1896 H.G. Wells novel The one of the first that I remember seeing, and [Charles]
Island of Dr. Moreau, Moreno-Garcia’s book is distinctly Laughton was in that one. I just remember thinking
different. “For me, it’s just a launching point, a small about, Oh yeah, I remember that movie in black and white
idea,” says Moreno-Garcia, “and then I go someplace and what the sets look like, and that could almost have
completely different.” been Mexico. And when I thought about that, because
MORENO-GARCIA PHOTO © MARTIN DEE
Set in 19th-century Mexico, The Daughter of Doctor later—[Boris] Karloff who was this actor who did hor-
Moreau follows Carlota, the doctor’s daughter, and ror movies went to do work in Mexico in his old age—I
Montgomery, a troubled newcomer hired by Doctor started thinking about, OK, wait a minute. It could have
Moreau to help with his experiments. But where Wells’ been set in Mexico … how? I remembered the Yucatán
book focuses mostly on the unsettling and (un)ethical peninsula as a place where they could have filmed, where
questions of the experiments, Moreno-Garcia’s novel it could be set. I remembered the Caste War of Yucatán. I
is clever, immersive, deeply emotional, and wildly thought, It’s perfect. It’s the place and the time to do this.

The bestselling author of
Mexican Gothic shares her
approach to world-building,
character development, and
what she’s learned about the
business of writing.
BY AMY JONES
THE WD INTERVIEW Silvia Moreno-Garcia
Untamed Shore and Mexican Gothic are each told thought it worked better. It worked like a world apart of
from one character’s perspective. In Velvet Was the the world in a certain way.
Night, you showed two characters’ perspectives
going back and forth. What I really loved about When you talk about “containing” the world, what
Doctor Moreau was you had two perspectives, is your approach to world-building in general? How
but they sort of overlapped with each other. At much do you create in advance of the actual writing
the end of one chapter told from one character’s of a first draft?
perspective, the other character would make an It depends. I like to research as I write traditionally, so
entrance, and then the next chapter would tell how I will have done some kind of research ahead of time.
they got to that moment. How did you decide to But generally, there’s a point at which I say, “OK, that’s
explore the narrative in that way? enough.” Then I go into it, and I’m still doing research
My natural impulse is to do different points of view. while I’m working and it’s happening in tandem. That
When I can’t do them, I find it really very difficult. that can be good and bad. It’s good because I think it
Mexican Gothic required a single point of view and so allows me to just get to it and start building the story. It
did Untamed Shore because otherwise, the story that can be bad because if I suddenly discover something that
I was trying to tell could not be told in that same way. doesn’t really fit with what I’ve been doing, then I’m 40
Gothics tend to be single-person narratives told from percent into a book, and then it’s like, Oh, no this really is
the point of view of a woman, and so in trying to evoke going to shift things. But for the most part, it has worked.
those neo-gothics that came back in vogue in the 1960s It happens a little bit ahead of time some, and then it
and works like that, I couldn’t really do the multiple continues to go during the novel.
point-of-view situation. I toyed with the idea of doing For the next thing that I’m working on, I’ve been
some letters embedded within the story, and it just wasn’t doing a lot more research ahead of time, rather than
working, so I scratched that. It’s a matter of the form. doing it in tandem. So, I will be spending more months
For Doctor Moreau, for reasons of explaining the way taking all my notes together and prepping them. Then
things are, I needed to have an outsider perspective and an once everything is concluded, I will begin writing and
insider perspective. Montgomery serves as that outsider we’ll see how that works out.
perspective in part one, helping you navigate what you’re
going into. Then in parts two and three, [he] serves to One of the ways you helped set the mood or cre-
juxtapose the point of view of Carlota and offer a differ- ate the world for Doctor Moreau is the descriptions
ent kind of perspective than she has. It’s not that Carlota of the characters. All of the characters, not just the
is myopic, but she sees things obviously in a different hybrids, are described in terms of their animal-like
way. Montgomery being this older character, this char- qualities, like “… he laughed and it sounded like a
acter that is perhaps a little bit more jaded, that has seen dog barking.” Did that come naturally as you were
a little bit more of the world, that comes from a different drafting, or did you work them in to better build the
place, is looking at Doctor Moreau in a much more cyni- world as you were revising?
cal lens and at the other people that they’re meeting in a I normally like to get a sense of the characters before I
much more cynical way than Carlota is. That was neces- start writing the book, and the characters really helped
sary because otherwise, it becomes just the narrative of an me make the book. Once I understand the voice of the
ingénue, and I thought that would be difficult to maintain. characters, then I can really start writing the actual
And this serves to give us that perspective. bits of dialogue and paragraphs. I like to do a lot of
Originally, when I was mapping this out, there was dialogue work with my characters. Some people like
a third perspective, which was Eduardo. I ended up doing biographies, where they’ll ask biographical data of
not going with that because it would have made it a how tall is this person, whatever. I don’t find that useful.
lot longer. I was interested in him for the reason that I don’t like doing that. I like talking it through, and as I
he could show us the world outside this very small, talk it through, I end up understanding the characters.
contained setting and we could see some of the other When I say, “I talk it through,” it’s [a] weird process,
parts of Mexico, but I ended up nixing that for several but I start literally talking to the characters. I start having
reasons. One reason was because by containing it, I conversations with them. I start saying lines that I think

they might say, and then replying and try[ing] to figure be almost impossible. If you are a picture book author, if
out how they might hold a conversation. And while I’m you want to write books for kids with illustrations, just
doing that, I’m figuring out the physicality. So, if I’m imagine how expensive that would be. Then you have
trying out a line and saying the lines and conducting this to figure out physical distribution and printing and all
conversation with a character, I’m also doing things like that. So that’s a very different situation than somebody
moving my arm as if I was holding a cigarette or figuring who’s writing romantic novellas and they’re 20,000 words
out if they would be drinking a glass of something, or just distributed to the Kindle. That’s one of the things
if they would be pacing. If they’re tall and confident or self-publishing is, it has all those pitfalls built into it. It
they’re small and meek, and if their voice is low or if it’s potentially rewards obviously monetary control, but all
high. I do that while I’m kind of rehearsing this stuff. those pitfalls.
So, it looks almost like I’m acting except I’m not really With small press publishing, I think one of the prob-
reading any pages at that time. It’s almost like talking to lems is this romantic idea that small press publishers are
an imaginary friend. better for you. They’re kinder, nicer, they’ll treat you like
Once I have that, then I have a good sense of the family, and when somebody says, “This is not like a work-
voice of the characters, and I can keep fleshing them out. place, it’s family,” I always remember that families can be
… I can figure out some of the other bits of how they dysfunctional. I’ve seen and met plenty of small presses
look, how they move, and does this person remind me that are just terrible at doing their accounting. They don’t
of a bird of prey or more like a jackal? Or are they like a have a budget for publicity or for covers. I had a book that
dove? What kind of things are going on with them? came out with a ton of spelling and grammatical errors
But it all starts with the dialogue. It all starts with the and the publisher was a small press publisher. I don’t think
conversations. It sounds pretty insane, I know it, talking they had a good copy editor, and I like the novel, but the
myself through that, but it really does work because I can actual production of it was not very good. They don’t have
hear it. Then it’s not just words on a piece of paper; it’s money for doing this and that.
somebody that is coming alive. So, although small press publishers can certainly ful-
fill a niche and sometimes provide an avenue for works
You have worked in all different kinds of publishing. that would otherwise not make it into the world, and
You’ve had self-published books, worked with a small can also be lucrative depending on what they’re doing,
press, worked with the Big Five. Do you see pros or you can’t forget that they’re not saints. You should not
cons to each of those different types of publishing? just accept that, Oh, well, it’s small publisher, so therefore
The basic problem with self-publishing is, it’s a question they’re allowed to take all my rights. … That can happen
of money and resources, right? You need money and quite often. I mean, they’re small press publishers and
resources to be a publisher. If you’re a self-publisher and people think, The big ones are gonna treat me like a face-
you don’t have either one of those, it’s going to be really less creature. Well, the small ones can also treat you like
difficult to do anything that is competitive and really crap. There’s no guarantees there. … You still have to
quite good. So, you need some kind of capital. You also look carefully at who it is, what they’re doing.
need knowledge. It’s starting your own business, and Big press publishers, theoretically, have the money.
starting your own business, whatever the business might They have the resources; they have the distribution and
be, is always a difficult and longer learning curve. And, theoretically, it’s all gravy. But that’s not true because
if you’re an unknown writer, the quantity of money that every imprint buys a lot of books and doesn’t put money,
you’re making is not a lot. I think some people might resources, or anything behind them. So, depending on
look at the success of [Brandon] Sanderson and think, who you’re with and [how] they work, you can end up
Well, the sky is the limit. But I’ve published myself, I’ve being forgotten, not taken care of. You can be shuffled
done Kickstarters, I’ve done all those kinds of things, and between editors. I had an editor [who] left and then I
the amount of income I’ve earned from that has not been was shuffled between two other editors and my book just
anywhere near Sanderson’s situation. … basically disappeared off the market. …
Now, some niches are more open for that, and that’s There’s no easy and perfect solution for a writer nowa-
why you see romance and erotica flourishing in that days, and that’s why I bounce around a lot, trying to find
sense. But for some other genres and niches, it’s going to a good place for myself. I do a lot of things with a lot of
THE WD INTERVIEW Silvia Moreno-Garcia
different people because I can’t rely on just putting my if this is just something where you feel that you want to
eggs in one basket. write a story once every one or two years, that’s valid and
that’s fine. But if you’re doing that, then you’re having a
This is one of the things that I’ve appreciated about completely different approach than a working writer. If
watching you from afar—you’re very open about the you’re a working writer, you need to know all of these
truth of the publishing industry as an industry. You other parts of what writing is and know all the grammar,
help set the expectations for other authors as they the syntax, the history of literature, all that kind of stuff.
come up and for readers that writing is a business
endeavor, as well as an artistic one. When and why I read the interview you did with DIY MFA, and you
did you decide to take that approach? talked about when you were first starting out, it
I didn’t come through an MFA. I didn’t take any writing can be hard to accept that you’re not always ready
classes, anything like that. I came up through just selling for publication right off the bat. And I wondered if
short stories to science-fiction and fantasy magazines, you could talk a little bit more about that and how
which are the ones who paid. Literary magazines, writers who are just starting out can work through
generally, want you to pay them. So, it’s a very different that challenge?
scenario or a very different thought process when you I think with anything you get better at it eventually if
come through an MFA. It’s almost like you have to get you do it enough times, almost anything in life, and it’s
permission to get paid and you’re afraid of getting paid, the same with writing. The idea that there’s some kind of
or you think that you’re doing a lofty service to the world, learned genius [who] knew how to write basically off the
some really big poetic thing for the world. And basically, I bat, it’s probably very slim chances that that happened.
don’t think I’m any better than a plumber. A plumber does And also, success off the bat is a difficult endeavor. We
an important thing in the world. When my dishwasher do see things like such-and-such 22-year-old writer got a
wasn’t working, I was very grateful for the plumber [who] million-dollar contract, and then you want to smash your
came and fixed it. I tell stories which people find amusing head against the wall because they are 20 years younger
and interesting and maybe sometimes even useful too. than you and they just got a million-dollar contract, and
But I don’t consider myself to be any more than that. I’m a you’ve been working for I don’t know how long, and you
freelancer, that’s what I am as a writer. can’t even get $2,000 for your stuff ! [Laughs]
When you’re a freelancer like me, when this is a But it’s important to remember that you have to have
job that I’m doing, whether it’s a side gig or a full-time metrics of success that are not dependent on the outside
job, then I have to accept the realities of the fact that world. They have to be more internal things. And by that,
this is work. And if it’s work, if it’s not just a hobby or I mean, you can’t say, “Well, my worth as a human being
something that I’m not expecting to get paid for, then it is determined by the worth of my rate-per-word,” you
has to follow the rules of work. When I’m trying to get know? If I’m worth only 2 cents per word, then I am not
freelance work, when I’m writing articles, I’m thinking very valuable versus if I’m worth a dollar per word. You
about how many hours is this going to consume of can’t go that way because that will be just psychologically
my time. What am I going to bill these people for? I’m incredibly damaging. You have to set up other kinds
thinking about taxes. When I’m writing fiction, it’s not of goals and metrics and things that you see as kind
any different. It’s not any more precious because it’s of sticks of measurement. Things like writing a short
fiction than because it’s an article. … story within a certain amount of time in the summer,
I think what happens with MFAs is that they don’t for example, and maybe your rate of success will be, “I
really tell you a lot about this side of the story. They will send that out to 10 different markets and see what
want to almost hide it a little bit. But even if you’re really happens with it.” So, whether you get one response or
interested in just doing literary fiction and you don’t think not, it is not the thing that you are really gauging. It’s just
that commercial fiction is for you, things like applying for the act of sending it out and seeing how it goes. WD
grants, knowing how the local arts scene works, and [how]
funding and residencies and that kind of stuff works, it’s
really important if you are going to be making a living Amy Jones is editor-in-chief of WD. Follow her on Twitter
off this. Now, if you don’t want to make a living off this, @AmyMJones_5.

OPENING
K EY NOT E SP EAKER
WRITER’S DIGEST
NOVEL WRITING
CONFERENCE
ATTICA LOCKE
Attica Locke is the award-winning author of five novels.
Her work includes Edgar Award-winning Bluebird, Bluebird;
Pleasantville, the winner of the Harper Lee Prize for Legal
Fiction; and The Cutting Season, winner of the Ernest
Gaines Award for Literary Excellence. Locke works as a
screenwriter as well. Most recently, she was a writer and
producer on Netflix’s When They See Us and the Hulu
adaptation of Little Fires Everywhere.
OCTOBER 20–23, 2022

REGISTER NOW
PASADENA, CA
REGISTER TODAY FOR YOUR BEST PRICE!

NOVEL.WRITERSDIGESTCONFERENCE.COM
Time, That
Gentleman Caller
Julie Novak-McSweeney, winner of the
16th Annual Writer’s Digest Poetry Awards,
shares the story behind her winning poem,
“The Old Ones.”
B Y ROB E RT L E E B R E WE R
I
t’s always a surprise to learn which new poem and
poet will win the Writer’s Digest Poetry Awards, but
I always know it’s going to be a fun process. Even
though it’s a challenge to narrow down a list of finalists
and ultimately choose one winning poem, there’s an
annually fulfilled promise of great reading.
For the 16th Annual Writer’s Digest Poetry Awards,
there were more than 1,100 entries. The poems covered a
range of poetic forms, including sonnets, villanelles, and
free verse. The subjects were just as diverse covering the
big issues of 2021 (like the continuing pandemic and polit-
ical drama), as well as timeless subjects (like experienc-
ing romantic love or the admiration of cats). In the end, I
selected Julie Novak-McSweeney’s “The Old Ones” for the
First Place Prize of $1,000, publication in Writer’s Digest,
and a 20-minute consultation with yours truly.
I found “The Old Ones” to be a fun poem that
addresses a topic many poets avoid: growing old. And for
the poets who do dive into the subject of aging, it’s often
met with fear or complaint. By contrast, “The Old Ones”
IMAGE © GETTY IMAGE: FRANCESCOCH
is an intriguing frolic of a poem that meets its subject

with an almost, dare I say, youthful optimism.
From the very beginning, I felt myself caught up in the
sonic delights of “The Old Ones” as they “click castanets
of / false teeth / into place” with those c’s, t’s, and s’s.
Novak-McSweeney uses slant rhyme and some interesting

indentation to keep the poem light and introspective all
the way through to the literal and metaphorical end. In THE 16TH ANNUAL WD POETRY
the process, she makes Time “kinder, they agree, / than AWARD WINNERS
advertised.” All in all, it was a delightfully unassuming 1. “The Old Ones,” by Julie Novak-McSweeney
poem that separated itself from the pack. 2. “Watch Repair,” by Eric Meub
Here’s a quick Q&A with poet Julie Novak-McSweeney: 3. “Lament,” by Martha Fox
4. “Solipsism,” by Mercer Warriner
How long have you been writing? 5. “Confession,” by Gabrielle C. Burton
I have been writing since I was old enough to read. I 6. “An Awakening of Girls,” by Katherine Cavicchio
always dreamed of being a writer. 7. “The Burning,” by Carolina Hamilton
8. “My Father’s Grief,” by Linda Busby Parker
What inspired “The Old Ones?” 9. “Equinox,” by J.W. Rose
My husband and I drove past a nursing home one day, 10. “Saigon, 6:30 a.m.,” by Cynthia T. Quam
and he remarked on the number of lives and histories
hidden behind the building’s bland and blank façade.
This triggered, for me, a cascade of images and feelings “The Old Ones,” by Julie Novak-McSweeney
about the elders who have influenced my life, and about The old ones
the residents in that home, the individual and collective click castanets of
circumstances that brought them there, and their jour- false teeth
ney toward life’s end. into place
comb thinning hair.
That we are all “The Old Ones”—potentially, if not yet
in actual fact. And that Death can be a benevolent figure, What else is left
extending us every courtesy, ushering us gently into but worn-out rites
whatever world awaits us after this one. when nights no longer
work their magic
Why did you choose to enter the Writer’s Digest when even mornings are opaque?
Poetry Awards?
Walking slow
I’ve been a huge fan of Writer’s Digest for many years.
buckling down
I remember happening across Writer’s Market in the
lying abed
reference section of the library, leafing through its pages
and dreaming of sending work to the publications and the old ones rehearse
publishers listed there. Writer’s Digest respects writers’ their script of ancestors.
dreams and offers them the tools needed to realize They are spirited, still
those dreams of artistic expression, exercise of craft, dressing in their best for
and publication. Time, that gentleman caller.
He is kinder, they agree,

Has anything changed for you as a writer since
than advertised.
winning the award?
So gentle at the end,
I’ve taken my poetry much more seriously. Winning beckoning them through canopies
the award motivated me to work again on my first book of light.
of poems and to submit those poems to contests and It doesn’t hurt, this journey
publications. It has also encouraged me to resume work over bright carpets of rivers
on my first novel! to sensuous shores
where even the dead can dance. WD
If you could pass on one piece of advice to
other poets, what would it be?
Have faith in your own poetic voice. Be true to your Robert Lee Brewer is Senior Editor of Writer’s Digest and author
Muse—not anyone else’s. of The Complete Guide of Poetic Forms.
YOURSTORY CONTEST #115
Facilitating Progress
THE CHALLENGE: Write a short story of 650 words or fewer based on the photo below.
I
Out of more than 100 entries, Writer’s
sit comfortably in my grand-
Digest editors and readers chose this
daughter’s minivan as we inch winner, submitted by Bill Swanson of
along the elevated superhigh- Longmeadow, Mass.
way that spreads over the land
where my grandfather’s farm once river. The sun is high, bees fly from
stood. Looking East to where the flower to flower, grasshoppers
mountains meet the sky, I am glad jump about, and one even makes
to see that at least the view has it across both rails right in front
not changed. Daydreaming, I find of us, making us laugh. She is so
myself back on Grandpa’s rocking beautiful when she laughs. When we
chair on the wraparound porch, see a copse of trees partly covered
admiring the hills and blue sky, lis- by what looks like cobwebs, we
tening to the bird’s chirp and the investigate and find thousands of my grandparents to sell their home,
whispers of the wind as it blows caterpillars within the webs, feeding so they could build the highway.
through the hair I no longer have. on the leaves. In awe, we look into The letter said it was “necessary to
The scent of the lilacs surrounding each other’s eyes, smiling. Time facilitate progress, to allow people
the porch is strong, but I can also freezes. There is a warmth in my to better connect to one another.” I
still smell the bacon my family just chest that I have never felt before. cannot suppress a sarcastic laugh as
devoured from Grandma’s breakfast. Confused about what is happening, I remember how my family walked
The hanging plants around me I look away. down those front steps for the last
are still dripping from the morning Back on the tracks, heading time, turned and waved goodbye to
watering as the rising sun warms to our bikes, I want to look into the house, the porch, the flowers,
my body. When I see Mary biking Mary’s eyes again and feel what I our arms around each other.
up the dirt road to the house, I leap just felt, but I do not know what to As my granddaughter drives
off the porch, over the wooden front do. Walking on one of the rails, next us across the “X,” the center of the
steps, onto the grass, and mount to Mary, I lose my balance and fall obnoxious highway below us, she
my bike, I rush down the driveway toward her. When I land, we are face turns down the radio and yells out
to meet her at our usual spot near to face. She smells of strawberry, like to her husband, who sits beside her
the mailbox, next to the rosebush, the color of her hair. Our eyes meet and our three beautiful grandchil-
IMAGE © GETTY IMAGES: AERIALPERSPECTIVE WORKS
which is in full bloom, the flowers again, her pupils dilate. When she dren in the third row behind us,
still open wide after quenching their leans in and kisses me, an electric “Here we are, where Grandma and
thirst on the morning dew. shock runs through my entire body. Grandpa met!”
We ride for hours, racing each “HOOONK!” I turn to my left as Mary turns
other here and there, Mary keeping The horn from the truck behind toward me, smiling. When I lean
pace with me the whole way, us brings me back into the minivan. in to kiss her, the voltage on the
sometimes beating me. Taking a I think of the letter we still have, electricity that runs through me is
break, we leave our bikes and walk the one the state sent invoking not as strong as it was so many years
along the railroad tracks near the “eminent domain” when they forced ago, but it is still there. WD

ENTERYOURSTORY
THE CHALLENGE: Write a short story of 650 words or fewer based on the photo prompt below. You can be funny, poignant, witty, etc.; it is,
after all, your story.
TO ENTER: Email your entry to YourStory

[email protected] with the subject
CONTEST #119 line “Your Story #119.” Entries must be
pasted directly into the body of the email;
119
attachments will not be opened. Include your
name and mailing address. Entries without a
name or mailing address will be disqualified.
NOTE: WD editors select the top five

entries and post them on our website
(WritersDigest.com/your-story-competition).
Join us online in September, when readers
IMAGE © GETTY IMAGES: ALEXANDER SPATARI
will vote for their favorite to help choose

the winner. Follow @WritersDigest on
Twitter for Your Story updates.
The winners will be published in a future issue of Writer’s Digest.

DON’T FORGET: Your name and mailing address. One entry per person.
DEADLINE: August 21, 2022.
short SHORT story
To make a long story (really) short...

We’re looking for writing that’s bold, brilliant, and,
most of all, brief.
Submit your best stories that are 1,500 words or fewer.

You could win $3,000 in cash, a trip to New York City for
the Writer’s Digest Annual Conference, and an interview
for a feature article in our magazine.
Early-Bird Deadline: Regular Deadline:

November 15, 2022 December 15, 2022
Enter online at
writersdigest.com/competitions/short-short-story-competition
W R I T I N G T I P S F R O M M A S T E R O F F I N E A R T S P R O G R A M S A N D C A N D I D AT E S
5 LESSONS FICTION WRITERS CAN

LEARN FROM PLAYWRITING
BY KIM LO UI SE
S
ometimes I look around, and I am gobsmacked main character, Troy Maxson, is lying about everything—
by the world. For entertainment alone, I have a who he is as a worker, husband, father, brother, friend,
smorgasbord of choices: YouTube, Netflix, TikTok, and, most importantly, a man. And he should stop before
not to mention being determined to get out of the house his lying destroys the people he claims to care about.
after being cooped up for two years. I wonder in this To create dialogue this multifunctional, imagine the
world: How do we, as fiction writers, engage our readers goals your characters have in each scene and ask yourself:
in new, surprising, and captivating ways? What physical tool is the ideal means to achieve those
One way I achieve this is by leaning into lessons on goals? If your character’s goal is to punish, perhaps
drama from my MFA in Stage and Screen. These lessons the tool is a hammer. The dialogue should come out
have sharpened the way I write fiction, and my work has walloping—every word a blow to those spoken to. Uncork
more vibrancy and emotional richness as a result. your imagination and consider the array of possible
dialogue tools: glue gun, bottle opener, microscope, or
DIALOGUE—THE SWISS ARMY KNIFE leveler—as in the case of Wilson’s character Bono.
OF DRAMA
In fiction, dialogue is the primary method we use to dis- COMPACTION—THE AMAZING CLOWN CAR
tinguish our characters. On the stage, the spoken word OF DRAMA
takes on a valiant mission—that of being the tool replac- When I was a kid, the circus was a big, honking deal.
ing many elements of fiction (setting, mood, internal During the show, a small car would roll into the ring,
dialogue, narrative, description, and in many respects and upward of 40 clowns would emerge. It was no
action). Because of this, every word of dialogue in a play optical illusion. The inside of the car was stripped
often performs double, triple, or quadruple purposes. empty, except for the steering wheel. The clowns inside
In the Tony Award-winning play Fences by August would fold, squeeze, and squish together, and then
Wilson, the first line of dialogue is a one-sentence tour exist in a seemingly endless stream of red-nosed, big-
de force: “BONO: Troy, you ought to stop that lying!” The shoed entertainers.
M FA W O R K B O O K
In playwriting, we pack a lot into a small space. Entire march of highly dramatic action (spoiler alert): Blanche
lifetimes unfold in the span of 90 minutes (which equals DuBois’ fish-out-of-water arrival in New Orleans;
90 pages of script). This is accomplished by shoehorning Blanche staying with her sister and clashing with her
numerous meanings into tiny, yet potent, packages. sister’s husband Stanley; Blanche’s sudden romance with
On stage, a calendar on the wall with days crossed Stanley’s friend; Blanche’s overt flirtation with her sister’s
off with big red Xs tells an engaging backstory—without husband; and Stanley’s attack on his wife. These dramatic
verbal explanation. Someone is literally and figuratively events lead to the renowned scene where Stanley, in the
marking time. If there is a starred date on the calendar, Romeo position, cries out his wife’s name, “Stella!”
the audience is leaning in, wondering what will happen When considering dramatic action for your
between now and the date as well as what will happen on fiction, remember you don’t have to save it until the
that date. end. Instead, imbue your story with a series of linked
The Obie-winning play Funnyhouse of a Negro by dramatic events that are more than really interesting
Adrienne Kennedy is a one-act instead of three. In things that happen.” You can start by making a list of
the bound script, the play tops out at a whopping 24 important events of action in your novel. Next to each
pages. One stage direction states: “A BALD Head is event, write the strongest emotional descriptor of the
dropped from the ceiling by a string.” This short action event—for example, rather than “mad,” write “livid.”
is the compression of many questions the audience can Then brainstorm ways this emotional descriptor can
consider: What happens when we “lose our minds”? be shown in action. Add wild, wacky, strange, gut-
What is it like when our hair becomes our enemy? What wrenching, gut-busting action at its logical extreme.
does it mean to be tethered to the status quo? There is After this, consider the reader’s response and soup it up.
an entire examination of identity to unpack via this one Instead of laughing, make them do a spit take. Instead of
small event. worrying, make them bite their nails.
In fiction, we can look for opportunities where one
image, one piece of description, one internal thought COLLISION—THE FREEWAY PILEUP
rolling around in our character’s minds can convey OF DRAMA
multiple story elements at once. We can create items of “Act One: Get your hero up a tree. Act Two: Throw rocks
engaged reading so powerful they stand alone without at him. Act Three: Get him down out of the tree.” This
further explanation of dialogue, action, description, nar- quote is attributed to George Abbott in Darrell Fusaro’s
ration, or internal thoughts. When done well, these nug- book On Playwriting. All the rocks coming in at once is a
gets tend to be events that create the strongest emotional hallmark of stageplays.
connection with the reader and elevate our writing. On the interstate, if one car stops abruptly, it will
impact other cars traveling along the same route. In
ACTION—THE JAMES BROWN OF DRAMA writing, an abrupt change can have a domino effect. One
If you’re not familiar with “The Hardest Working Man event slides into another, careens into another, skids into
in Show Business,” look him up. He’s James Brown (JB) yet another. The resulting carnage is hard for readers to
and worth the YouTube experience. The singer and look away from, and they will rubberneck through these
dancer crafted an infamous ending “act.” At end of his events in our stories in the same manner many of us do
shows, he would drop to his knees, and a backup singer while driving.
would cover him with a flamboyant cape and usher an Each scene written by playwrights is typically an
exhausted JB off stage. Just before they would exit, JB escalation. Through growing conflict and drama, we
would throw off the cape, run to the middle of the stage are commanding the attention of the audience until, at
to dance, and sing harder than before. the end of the play, the audience is no longer seated in a
That is dramatic action. separate space. The emotional fourth wall is demolished,
In the Tennessee Williams play A Streetcar Named and the audience is emotionally present with the
Desire, the audience is treated to a nearly incessant characters on stage.

Mine your story to uncover the intersecting points In fiction, we can look for
in your work. In my current work in progress, I created
a color-coded plot web using one color for each opportunities where one image,
character’s story arc. This helps me visually identify the one piece of description, one
way all story arcs connect. If there was no intersection, internal thought rolling around in
that was a red flag that a character, storyline, or
planned story event may be unnecessary and could be
our character’s minds can convey
cut down or eliminated. multiple story elements at once.
You can elevate the plot of your story by linking sig-
nificant, emotional events and crafting bold moments conditioner, shower, dishwasher, washing machine, fan
where your plot linkages smash into each other, pile up from a laptop) you can leverage to help tell your story.
and pile on in unpredictable yet inevitable ways. In my own play, Three-Strand Twist, the mood and
theme of the play are set in the opening stage directions:
SOUND—THE SHOW CHOIR OF DRAMA “In darkness, angry city sounds clash. It is the music of the
The table-read is one of the most important tools a oppressed. Cars, trucks, they hydro licks. In the distance
playwright uses. After the first draft of a play is written, bulldozing. Closer King Kong in the trunk. Sirens, a couple’s
the next step is to “hear” it. This can be done with friends fierce and final argument. Gravel and grit, walking, dogs
and family or a gathering of local actors who come barking, glass breaking, car horns made at the air.” The lives
together to read the play so the playwright can evaluate of the characters are in discord. By hearing these sounds
the effectiveness of the story based on the sounds it makes. at the start, it is my intention that the audience will feel
What works well in a play and what needs work is this same discord.
often discovered during the reading. Hearing another Read your writing out loud or try the text-to-speech
person’s interpretation of your work can be an elat- feature on many word-processing programs and appli-
ing—and jarring—experience. Areas of your story that cations. Better yet, have someone read it to you. Pay
you didn’t place much emphasis on might deliver more attention to where they speed up, slow down, or stumble
impact, whereas places into which you embedded your over the words. Know that your readers may have simi-
aspiration and spirit may be glossed over. lar experiences when your words become silent radio in
For the stage, sound is an integral story device. their minds.
Sounds are not treated as accessories. Moreover, sound
My MFA program taught me that playwrights don’t play
on stage is anything but random, convenient, or ordinary.
it safe. We routinely swing for the fences. We write past
If a bird is singing, the sound is integral to the plot. The
boundaries or are so used to writing past boundaries,
same is true for a song, a cough, or a gunshot.
we no longer see them. We want to explore the biggest,
As fiction writers, we can choose to use sound more
boldest, baddest incarnation of an idea and how this
intentionally in our work. When we include sounds
idea can delight on the stage. We create characters,
in our scenes, we can select them based on the stories
dialogue, and action larger than the stages they inhabit.
they tell in and of themselves. We can make the sounds
By incorporating theatrical drama into your fiction, you
particular rather than general. Ask yourself how a sound
open your novel to new possibilities of storytelling that
you’ve chosen strengthens this specific story, plotline, or
captivate readers and keep them turning pages. WD
conflict. If you find you can substitute the sounds you’ve
chosen with other sounds, you may not have chosen
precisely enough.
To refine your stories with sound, write for the Kim Louise (she/her) is the author of 11 novels and five novellas.
Her play Umarage was nominated for an Arts & Entertainment
ear. Make sound pictures by noting movements such award for Best Original Stageplay. She is currently a Resident
as how your character travels across a room. Explore Playwright for the Great Plains Theatre Commons and a stage and
story-enhancing soundscapes (appliances, furnace, air screen editor for The Good Life Review literary journal.
FUNNY YOU
SHOULDASK
A literary agent’s mostly serious answers to your mostly serious questions.
BY BARBARA POELLE
Dear FYSA, are under contract at a publishing Dear Navigator,

I heard through the grape- house, the percentage still comes to Very early on in my relationship
vine of my local writing group that the agent of record in perpetuity, with Husband, I learned he was a
another writer’s agent is leaving the unless another agreement is made natural athlete pretty much across
publishing world. I’m just starting to by both parties in writing. Further, the board. Whether it was ice skates
query, and it made me wonder: What if there are an unexploited subrights on his feet or a tennis racquet in his
happens to the authors an agent works like translation, film, etc., the agency hand, he took to whatever the sport
with if they leave the industry? may decide to release those to be was and make it look like he had
Sincerely, explored by a new agency. If the done it for years.
Surprised and Curious client moves, however, that is solely That is, until: 2018. The Gulf of
up to the agent and author, who Mexico. Paddleboarding.
Dear Surprised and Curious, must again come to an agreement in Reader, he just couldn’t do it. I
Oh gosh, that’s an easy one: They are writing on that. would glide merrily by, while he
contractually bound to come with However, as my clients are some loudly and wetly floundered and
me and remain my colleagues in my of the most delightful, creative, fell. The only way to truly describe
new career. If I start a llama farm? hilarious, and interesting humans I the roaring and the flopping is to
They better learn shearing tech- know, I would be eternally bereft and say it was like watching a kraken.
niques. If I open a Yoga Yurt? They bored in a new field without them. Wearing roller skates. On a
better get bendy. You get the drift. So, I would pitch the yurt. Hard. waterbed. About an hour, several
OK, fine, what would actually bruises, lost sunglasses and even
happen is that I would have a Dear FYSA, loster dignity later, he floated, arms
conversation with my colleagues I have been reading your across the paddleboard, feet lazily
at the agency to see who would column for years, and I know you kicking beneath him, as I paddled
be a good fit for each client. say how subjective the business is, by. He called out, “So, I think I’m
Then I talk to the clients about and that it’s about right book, right all done with paddleboarding.” And
my recommendation, and they time. Last year, I queried about I called back, “We can go again
can decide to stay at the agency 25 agents with my novel, getting tomorrow!” And he said joyfully,
with the referred agent or decide one request, and then an eventual “Nope! I mean I am All. Done.
if they would like to secure rejection from that request. I am With. Paddleboarding.” And then
representation elsewhere. If there writing something else, but I am he turned and kicked his way back
isn’t a clear advocate in house, I will thinking since it’s been over a year I to shore.
recommend and refer them to other should go back to my previous novel When I came in from the water,
agents in the industry to pursue. and start pushing that one again. Is he was chillaxing on a beach chair,
They are free to make whatever there any downside to this? and he said some pretty sage words:
decision they feel is best for their Sincerely, “I could tell right away I wasn’t
career. Insofar as their books, if they Trying to Navigate going to get it, but I kept forcing
PHOTO © TRAVIS POELLE
ASK FUNNY YOU SHOULD ASK! Submit your questions on the writing life, publishing, or anything in between to wdsubmissions
@aimmedia.com with “Funny You Should Ask” in the subject line. Select questions (which may be edited for space or clarity) will be
answered in future columns, and may appear on WritersDigest.com and in other WD publications.

And I still have to keep relearning that—the power of identifying
when it is time to try something else. I can save myself some
quality time by having the strength to say, “This is a nope.”
myself back on. It stopped being might be krakening it to go out word count on your WIP, continue
fun pretty quickly.” And I still have again. Without personalized to read in your genre, and lean
to keep relearning that—the power editorial responses from anyone, hard into your critique partners to
of identifying when it is time to try I have to make a guess that there read chunks of the work as you go.
something else. I can save myself is something about the narrative Let’s make yesterday’s paddleboard
some quality time by having the execution itself that isn’t resonating. today’s jet ski. WD
strength to say, “This is a nope.” And And therefore, it isn’t necessarily
turning my attention to what could about timing, but about craft.
be a yes. But good news! You have a new Barbara Poelle is vice president at Irene
So! Is there a measurable manuscript you are working on. So, Goodman Literary Agency (IreneGoodman
downside to going back out with I might suggest that the hours you .com), where she specializes in adult and
young adult fiction. She is the author of
the novel? Well, 25 submissions would have spent researching and Funny You Should Ask: Mostly Serious
and one request (with a pass), emailing another 25 agents will be Answers to Mostly Serious Questions About
could be an indicator that you better used to continue to push your the Book Publishing Industry (WD Books).
“[A] must read for

every aspiring writer.”
—Midwest Book Review
Script has been the leading source for information on the

craft and business of writing for film and television since
1995. With inside information, articles written by
working writers and filmmakers, and in-depth
interviews, Script is the resource on
every scriptwriter’s must-read list. MOSTLY SERIOUS ANSWERS TO
MOSTLY SERIOUS QUESTIONS ABOUT
THE BOOK PUBLISHING INDUSTRY
WRITER’S DIGEST MAGAZINE COLUMNIST AND LITERARY AGENT
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ALLABOUT THEPITCH
Covering the tips, tricks, and tactics for capturing the attention of an assigning editor so you don’t get ghosted.
BY ESTELLE ERASMUS
M
y latest Estelle’s Edge is
not just for publishing
but for life: Go for what
you want but prepare for it. I pivoted
into editing launch publications work with freelancers and staff diversity. For example, I wanted to
when I impressed the former CEO writers, and write all the headlines. cover the tradition of eating black-
of Hachette with my research and I’m also spearheading rolling out eyed peas for the New Year, and
analysis of his publishing empire. quarterly themed packages. because the tradition is rooted in
Shortly after, he hired me as the Black American culture in the South,
editorial director of a new fitness WHO ARE YOUR READERS? I assigned it to a Black writer who
publication. If you’ve been following There’s been a boom in readers since could tell that story.
my column and want to get an the pandemic, including people
editor’s attention, I am analyzing who want to grow food from seeds WHAT OTHER AREAS DO
a select number of pitches at the or mushrooms in coffee grinds and YOU COVER?
Writer’s Digest Conference. Email make their backyard soil healthy. Our Our food and lifestyle sections cover
your pitch to estellesedge2022 reader is anyone who cares where what happens once the food is home
@gmail.com. Go for it! their food comes from, and includes in the kitchen, with a focus on the
For this issue, I spoke with gardeners, aspirational farmers, full- source of the ingredient. It’s also
Shelby Vittek, the editor of Modern time farmers (out in the field with where we feature cookbooks, recipes,
Farmer (ModernFarmer.com). The tractors looking for suppliers), and and the tradition of dishes, such as
10-year-old publication (formerly in sixth-generation farmers, searching the history of black-eyed peas, or
print) became a Canadian nonprofit for the latest agricultural news. one writer’s essay about sourcing sloe
last year and has 10 million page berries and making her own sloe gin
views a year. It posts multiple pieces WHAT IS SOME OF THE for the first time. Our staff writers
a day and runs three freelance sub- IMPORTANT ADVOCACY cover news and profiles of farmers
missions a week. Its mission is to WORK MODERN FARMER who are pioneering different growing
tell the stories of the people who IS DOING? methods or reviving heirloom crops.
grow, make, and sell our food. On We are exposing a lot of the injus-
the website it says, “Modern Farmer tices in farming, food production, ANY SUBMISSION TIPS?
understands that a tomato is never and agriculture. Those entail look- A proposed headline helps to show
just a tomato—it’s also a politi- ing at the supply chain and who is how the writer is thinking about the
cal, and deeply personal, statement delivering the food. Many of our piece, but it’s not necessary. Make
about who we want to be and the stories have a climate change angle. sure to include the angle, instead
world we hope to live in.” We also focus on groups working to of “I want to write about climate
decolonize agriculture (for exam- change in agriculture.” In your pitch,
WHAT DO YOU DO IN YOUR ple, indigenous agriculture says include potential sources and links
ROLE AS EDITOR? we shouldn’t grow corn in certain to similar stories, and say how you
I make all the editorial decisions. I places). I have been expanding our would expand on the topic or cover
edit, oversee the social media strategy, freelance roster to bring in more it differently. I don’t need the writer

PITCH 1
Northeast Organic
g Dairy
y Farmers Getting
g Squeezed
q Out of Business: SHELBY: The pitch made a feature
Any interest in this timely story on Danone/Horizon Organic out of a news angle (the latest
terminating contracts with 79 organic dairy farmers across the in a series of threats to the dairy
Northeast a couple months ago? I covered it for a Maine outlet, so
industry). It was important for our
I’ve already dug into it a little and made contacts, but I would
readers who are farmers and our
broaden the scope to include the other affected states and put it
into the context of the national trend of organic consolidations.
readers who care where their food
Maine organic dairy farmers don’t have many other options since comes from.
there is no in-state processing plant and milk bought by Horizon
Organic gets shipped out of state to New York or even Virginia, ESTELLE’S EDGE: The writer
another example of how crucial infrastructure is to local markets, broadened the scope of the story
while Danone set a goal to have all its companies
p B Corp
p certied by by including the service element
2025 and net zero carbon by
y 2050. Even though
g the storyy rst broke in of groups trying to get federal aid.
Aug.,
g , about a week ago
g 13 New England
g lawmakers signed
g onto a letter
urging the Dept of Ag to intervene and working groups are forming in
Maine and Vermont to help the farmers.
READ ONLINE: https://modernfarmer.com/2021/11/northeast-organic-dairy-farmers-danone/
PITCH 2
How this co-op is committed to strengthening Hawaii’s food security SHELBY: I had wanted to cover
through breadfruit breadfruit, and I learned from this
Breadfruit, or ’ulu in Hawaiian, is a special produce here in pitch that it was really important
Hawaii and represents wealth. Being so isolated in the Pacic, to Hawaii.
food security is a big issue in Hawaii as food is often expensive
and we import many products. Every year, we spend $3 billion to ESTELLE’S EDGE: Normally, I
import as much as 90 percent of our food. If anything, the pandemic caution writers against using the
exacerbated food security issues. The Hawai’i ’Ulu Cooperative is a word explore, which scares editors
group of farmers using ’ulu to bring nutritious food to tables year- because it connotes the writer
round by growing various species in numerous microclimates, and sitting on the floor surrounded
guided by Hawaiian traditions. I’d love to explore this important
by a bunch of encyclopedias, but
work and the impact it is making in Hawaii.
it worked here because this story
had a specific regional angle.
READ ONLINE: https://modernfarmer.com/2021/12/breadfruit-hawaii-ulu-cooperative/
to have a ton of bylines or expe- words. Features are 1,200 words. We Estelle Erasmus (EstelleSErasmus.com)
rience, but I want to see that the pay in Canadian dollars (between is an award-winning journalist and
writing coach. She teaches journalism
person has a full grasp on the topic 50 and 60 cents), which translates to
classes at New York University’s School
they’re proposing. The pitch can be between 40 and 50 cents per word of Professional Studies, and for Writer’s
short. If I want more information, in U.S. dollars. We take first rights, Digest University. She contributes to
I’ll ask for it. and the author retains the rights. The New York Times, The Washington
Post, and Wired and is writing a book on
finding your voice, becoming a better
WHAT IS THE WORD COUNT, BEST WAY TO CONTACT YOU? storyteller, and getting published for New
PAY, AND RIGHTS? Email me at shelby@modfarmer World Library. Follow her on Twitter and
Our shorter pieces are 600–800 .com. WD Instagram at @EstelleSErasmus.
PUBLISHINGINSIGHTS
The Biggest Surprises and Learning

Moments of the Publishing Process
T
he publishing world is pitching one book and being that diversity in approach worried
filled with crossroads asked to produce two books some editors—including a few who
consisting of surprises and simultaneously like C. Hope Clark, really liked the concept and the
opportunities. How publishing author of Murdered in Craven and writing but felt uncertain about how
worked when I started in the Burned in Craven: “My publisher to market the book.”
business as an intern in 2000 is strongly suggested that readers Of course, it’s nice when the
not how it operates today. The binge so much these days that if I surprises are a bit more pleasant.
landscape constantly changes for created a new series, they might be “The biggest surprise was when
editors, but I love discovering what disappointed at only the one book my agent submitted the first five
surprises authors the most about the and maybe a year or more until the chapters and the summary to the
publishing process. next one. So, the publisher asked for editor on a Friday, and then about
For instance, Michael P. Branch a two-book release.” three hours later, the editor emailed
highlighted the process of gathering back and had already read the
illustrations for his nonfiction SUBMISSIONS AND materials and requested everything
book, On the Trail of the Jackalope: PUBLICATION else we had,” says F. T. Lukens,
How a Legend Captured the World’s Sometimes the submission process author of So This Is Ever After. “I
Imagination and Helped Us Cure can surprise us in difficult ways. scrambled over the weekend to
Cancer, “The time and money it “I think initially, I didn’t expect write a synopsis and fix a few things
took to secure permissions for all Tripping Arcadia to be so difficult in the back end of the manuscript.
the images I wanted to use surprised to place,” says author Kit Mayquist. Then Monday, we submitted
me. It was completely worth it, “I knew I wanted to write a everything. I was expecting to
because the book’s insert of color contemporary gothic, but I hadn’t wait a few weeks or longer, but the
illustrations is spectacular, but next realized it was going to be such a turnaround was quick.”
time around I’ll budget twice as hard sell!” However, writers should keep
much time for that process.” This sentiment is echoed by in mind that a quick acceptance
Maybe that’s why I love Branch: “One of the main things I does not always translate to quick
uncovering these surprises of learned is that books that appear publication. “It was hard when I
publishing because the more I hybrid can sometimes spook found out that the book I wrote in
can understand now, the better editors. What attracted me to the 2019 wouldn’t be out in the world
prepared I’ll be to handle situations project was the combination of until 2022,” says Radhika Sanghani,
in the future—even if that involves folklore, the arts, and science, but author of 30 Things I Love About

Myself. “But I also trusted my
publishers that this was the right 4 EDITOR SHOUT-OUTS
time for us to publish, rather than While editors may wear many extra hats nowadays than in publishing days
rushing to do it a year earlier, and of yore, it’s a myth that editors don’t edit. If you need proof, here are a few
it ended up being perfect because it editor shout-outs from our author spotlight series on WritersDigest.com:
meant I didn’t have to publish my
book during the year of COVID. I’m • “Settling into writing was not something I could do at the beginning of
so used to journalism where things COVID. I had to push back writing deadlines, which felt unprofessional
are so fast, but I’m learning to enjoy and embarrassing. But Lake Union and my editor Jodi Warshaw were so
the more relaxed pace of publishing.” generous and compassionate. I’m deeply grateful.” —Laila Ibrahim, author
of Scarlet Carnation
SHARING WORDS WITH • “This is the third book that my editor James Melia and I have worked on
THE WORLD together, and I never fail to be surprised by how his edits make me a
Once that book is published, better writer. It sounds a little cheesy, but it’s the absolute truth—James
authors find many more has an almost otherworldly talent for hearing the stories his writers want
surprises—often related to sharing to tell before they hear them.” —Grant Ginder, author of Let’s Not Do
their words with the world. “After That Again
years of writing and publishing • “The final third of the book did change a lot during the editing process
individual stories in magazines, with Rachel Kahan at William Morrow. Rachel did what a great editor is
it’s been a happy surprise to truly supposed to do: turn my point of view around so I could see the growth
understand the impact of putting through Joan’s eyes, not my own. That perspective really made the book
a book into the world,” says Cara better.” —Lian Dolan, author of Lost and Found in Paris
Blue Adams, author of You Never • “My incredible editor, Carina, having bought the book for [Simon &
Get It Back. “Being given the Schuster], gave me the best piece of advice I’ve ever received. She told
chance to talk about my stories me that the draft she read (about three drafts away from the final!) felt
with perceptive readers—writers like I wanted to write a book about religion and faith, but that I was
and scholars and podcast hosts holding myself back. In a sense, she gave me permission to bring out the
and others in the book world who themes already implicit in the novel—to make them explicit and develop
have interviewed me, for example, them—and the book was so much better for it.” —Tara Isabella Burton,
along with other readers who have author of The World Cannot Give
come upon the book for a variety
of reasons—has been enormously
gratifying and fun. I’ve always to introduce the book in that much indie booksellers on my usual trips
thought of the act of writing itself detail. Instead, I’ve learned to speak to local bookstores. I find talking
as the major reward of devoting broadly about the larger issues and about myself and my books in per-
oneself to writing, and I suppose leave the subtler topics and second- son nerve-wracking and difficult,
my perspective hasn’t changed, but ary conflicts for the reader to dis- but fortunately everyone has been
it’s been enlarged.” cover in the text.” so kind and welcoming. Are book-
Speaking about books after pub- In fact, you can sum up the sellers the best people or what?”
lication is a common thread. “One whole publishing process this way. I think we can all agree book-
significant thing I needed to learn “As far as learning moments go, I sellers are the best people, and that
was how to speak about my book feel like the entire publishing pro- the entire publishing process is a
succinctly by reducing it to its core cess is a learning moment,” says learning moment. But one we
idea,” says Tammye Huf, author of Amanda Elliot, author of Sadie on a all enjoy. WD
A More Perfect Union. “There are Plate. “I’m constantly learning new
so many themes and subplots going things. One of my most meaning- Robert Lee Brewer is Senior Editor
on in the novel that I would love to ful learning moments has been of Writer’s Digest and author of The
talk about, but there’s rarely time introducing myself and talking to Complete Guide of Poetic Forms.
LEVELUPYOUR
WRITING(LIFE)
Advice and tips to boost your writing skills.
BY SHARON SHORT
Managing Point of View (Part 3

of 3): The Distance of Time
I
magine that right now you’re
in a coffee shop and glance
up from your work and see …
a leopard.
How do you feel about a leopard
gazing at you from just over there,
by the counter with the cream and
sugar? Shocked, frightened, curious?
How do you react?
Let’s further assume that the
situation resolves happily for you
and for the leopard. The leopard
doesn’t hurt you or anyone else and
is gently returned to the zoo.
Whew!
You’re a writer, so of course usual table at Capitol Perk, tapping coffee shop, was the pure, distilled
you’re going to share this experience. away on my laptop. Then the cof- moment when everything changed
How you tell the story, though, will fee shop chatter suddenly stopped. for me, in my personal life, in my
be shaped by when you tell it. The strange silence made me look writing life. Oh, I didn’t realize it in
ILLUSTRATIONS © GETTY IMAGES: FRANK RAMSPOTT, WILDPIXEL
As it’s happening, your thoughts up, only to see what everyone was that moment—my heart pounded in
might narrate: It’s about time for staring at—a leopard. Right by the panic as I wondered if I should run—
another cup of coffee. I’ll just go— counter. I caught its piercing gaze. but since then, when I’ve felt stymied
wait! Is that—it can’t be—a leopard? My heart started pounding. I won- by a decision, that leopard’s piercing
It’s staring at me. Panting. Drooling. dered if I should run … green eyes appear before me and …
Should I run? No, no, if I run, the Years—even decades—later, you How we tell our stories changes
leopard might chase me … might still tell the story—narrating depending on when we tell them,
A week or two later, you might from the point of view of looking relative to how long ago we had
tell the story to a friend—narrating back on a long-ago incident: That those experiences. As time passes,
from the point of view of remem- instant, when I looked up from my we might imbue an experience with
bering a recent event: I was at my laptop and saw the leopard in the more, or different, meaning than it

had in the moment. Deeper wisdom, immediate emotion or action, procrastination. Ask yourself. Your
fresh perspectives, or new informa- perhaps in a thriller or action- gut instinct will know if you really
tion might become important to the packed story? Opt to narrate the need more time away from your
story. In the above example, shock story close in time to the events—or work—or if it’s time to get back to
as the focus of the story makes even right in the thick of them. Are the project.
sense during or after the experi- you aiming for a more reflective Be honest with yourself about
ence; lessons learned might become story? Narrate by looking back upon how much time you have for
the new focus when the story is told story events. (Bear in mind that your writing. Your circumstances
years later. the further back your character is may mean that an hour a day is
Likewise, the point in time in looking, the foggier those memories reasonable. Or your schedule may
which we’re narrating our characters’ might be—but that in itself can be a mean that an hour a week, with
stories matters a great deal in how story element!) occasional additional bits of time,
we craft point-of-view, whether This is the third of three columns is exactly what you can give to your
we’re writing in first or third person. in which I’ve examined point of writing. That’s perfectly fine! Don’t
Your novel, story, memoir, or essay view—busting myths; examining pressure yourself to spend more
will be much stronger if you take how to manage emotional distance; time than you actually have—but
the time to firmly decide at what and how to manage the point of when it is time for you to write,
point in time, relative to the story time from which the story is told. honor that time, yourself, and your
events, is this story being told? All the choices you make about work by giving your efforts your
Simply deciding, well, I want to point of view should work together full attention.
write in past tense, so … sometime to serve the story you’re telling, but On a larger scale, remember
after the events, isn’t specific enough. making those choices takes, well, it takes a long time to learn the
My novel, My One Square Inch of time. Speaking of which … writing craft—and truth be told,
Alaska, takes place in 1953 and is there’s no end to learning. You’ll
about 17-year-old Donna and her ill TAKING TIME AS A WRITER always find there’s an element of
11-year-old brother. After the first Respect yourself as a writer—and your craft you want to improve
drafts, I realized the story wouldn’t your project—by giving yourself all or learn more about. Likewise,
reach its full potential if told in first the time you need to thoughtfully give yourself—and others—the
person as the events unfold. Insights consider your point-of-view options. time needed for receiving helpful
vital to the story were not ones that You might do so while planning feedback and finding publishing
a teenage girl would have expressed. your project, drafting, or revising— outlets that are the right fit for your
Ultimately, I had Donna narrate the or even in all stages. Art is not writing—and for you.
story 12 years later from an adult a linear process. As I like to tell
Bear these tips in mind, and you
point of view after she’d had time writing students—your project will
might discover that, as the old say-
to mature enough emotionally and be a mess, until it isn’t!
ing goes, time is on your side. WD
intellectually to process the events. Sometimes, it’s healthy for you
On the other hand, in The and your story to set it aside for a
Widows, my main character, Lily, is little while. Just as the character
the wife of a sheriff who has just who saw a leopard in the coffee shop Sharon Short (SharonShort.com) is
been killed in the line of duty. I will have a fresh perspective on the award-winning author of more than
wanted the immediacy of Lily’s the incident a few weeks afterward, a dozen novels, most recently in her
Kinship Historical Mystery Series, inspired
emotions and actions, so I wrote in you’ll feel renewed from the break by Ohio’s true first female sheriff in
present tense. But to keep her feel- and have a fresh take on what you’ve 1920s Appalachia, published as Jess
ings from overwhelming the story, I created—and how to best proceed. Montgomery (JessMontgomeryAuthor
also wrote in third person. But how do you know if .com) by Minotaur Books. She also hosts
the podcast “Tea with Jess: Chatting
Choosing at what point in time you’re taking too much time? with Authors & Artists.” Find Sharon on
you’re narrating your story depends Sometimes it’s tempting to extend Facebook @SharonShortAuthor or
on your story goals. Do you want taking a break into the realm of @JessMontgomeryAuthor.
BUILDINGBET TERWORLDS
Tips for making your story concrete.
BY MORIAH RICHARD
Some Thoughts on Designing Cities
W
hen it comes to your
story’s cities, you might
not have gotten further
than sticking a pin on your hand-
drawn map. Or maybe you’re writ-
ing your next draft and are realizing
that some things about your world-
building feel a tad flimsy.
Here are some considerations
that might help build the communi-
ties your characters are a part of.
POPULATION
It can be difficult to think about
population size when you’re
sketching out a story with only a
handful of main characters. What’s of settlements than any other across taverns, etc.—will start popping up.
the difference between a village or a your world. But with more people comes more
town or a city? If a village has been made problems. For safety, walls might
As a world-builder, you can make easily accessible or is in a strategic be erected around the town. Maybe
up any rules you want for your story. location, more people might a castle will be built to ensure that
A village could be dozens or thou- encounter it and be inclined to no rival towns can come and take
sands of people. But there are a few stay. More natural resources and what these people have. Waste and
existing guidelines from our world opportunities to make a livelihood hygiene will also become a concern
you can lean on if you’re feeling a will ensure that the village will grow because the more populated an area,
little stuck. and prosper. This is when your the higher the risk of disease and
A village or hamlet is usually village will be upgraded to town infection. Now you’ve got yourself
created when there are several status. You can think about a town a city! You can think of a standard
farming families in a particular as anything between 2,500–10,000 city as anywhere between 10,000 to
IMAGE © GETTTY IMAGES: CHARLES HARKER
area, and they want to create a inhabitants. There are fewer towns 50,000 people. Any bigger and you
community for safety, easy trade, than villages in a standard world, might have a big city or even capital.
and access to spaces for things like but they’re not uncommon. If you’re looking for a little
worship or education. These might Now that your town is bustling, more direction, I recommend Roll
include anywhere between 50–2,500 even more people might travel there for Fantasy’s population genera-
people. There will also be, more to access the markets, which means tor. While it’s not something that
likely than not, more of these kinds that the hospitality industry—inns, you can very easily personalize, it

might give you more of an idea of inside a building, remember to keep poles to attract lightning away
how many people of one profession the fuel source somewhere nearby— from flammable structures? These
might be found in the population think firewood stacked on the porch. are all things to consider as you
size you want. This way, it’s realistic that the people build your designs.
who inhabit it can quickly grab it If you find yourself unsure, start
DWELLINGS and bring it in when needed. by researching architecture in simi-
Now that you know your population When it comes to keeping lar biomes here on Earth—while
size, it’ll be easier to determine what someplace cool, places like caves you might not use exactly what you
buildings are necessary for your and river valleys are naturally cool find, it can give you an idea of what
people to function. locations where people might you might like to create. And don’t
Again, it’s good to think of this choose to live if there are long allow what’s “realistic” to restrain
in terms of who lives there. Farmers periods of very high temperatures. your imagination.
need things like silos and barns; In humid regions, buildings on
miners might need barracks and hills will catch more airflow than 3. Wildlife
smelters; and most towns need at the bases of hills. But inner walls When we think about wildlife, we
community spaces for healing, made of reeds or mesh will allow tend to think about things like bears,
education, and spiritual worship. air to flow more freely inside a raccoons, squirrels, or snakes. These
Making a list of the professions home. Trees might be planted close are the problem creatures that trou-
needed to keep your city running by so that as they grow taller, their ble our modern society.
will help you determine what kind shade will naturally keep the sun It’s worth noting fictional crea-
of buildings exist there. (and heat) at bay. Deeply recessed tures that exist alongside your char-
Now that you know what you doors and windows allow for airflow acters. If your people live near the
need, you need to know what those without making sunshine an enemy. ocean and travel a lot by boat, they
things will look like. Yes, you can may have myths (or even plenti-
go on Pinterest and search for 2. Weather ful encounters) with sea monsters
fantasy world art—I’ve gotten a ton When it comes to weather, there are or sharks. If they live on plains,
of really great ideas for my world- a lot of ways that people work to perhaps they’re always defend-
building that way. However, there combat nature. If your people live in ing their pastures from packs
are some practical matters to keep a place with a lot of snow, they most of dogs or enormous hawks. As
in mind while you’re designing likely will have pitched roofs that a proud Marylander, one of my
your architecture: will allow ice and snow (and even favorite cryptids is the snallygaster.
rain) to easily slide off—remember, Whatever the case may be, if you
1. Regulating Temperature snow can be very heavy and will have an inkling into what you might
Temperature greatly affects the collapse a flat roof if there’s too want to incorporate in your story,
way buildings are structured. much of it. If your people live in a now is a good time to note it down.
When it comes to colder regions, place that routinely floods, they will
As with most world-building, there
underground buildings or ones that most likely build their homes on
might be a lot of elements in this
have less surface space (like igloos) stilts, or at least avoid constructing
article that will not make it into
will help the inside of the structure spaces like basements.
your story directly, but it can help
stay warm. Your people might also Water isn’t the only product of
you flesh out your setting, spark
realize that dirt is a great insulator, weather that you might need to
some ideas for your story, and cre-
so dirt floors or sod-covered houses consider; if your world has extreme
ate a clearer picture for your readers
will keep heat locked in. Depending weather like tornadoes, hurricanes,
to immerse themselves in. WD
on the level of technology your or even severe lightning, this will
world has, you can also incorporate affect the way your buildings are
chimneys or a firepit sunken into designed. Will there need to be Moriah Richard is the managing editor of
the floor to help heat up the inside high walls to protect the houses Writer’s Digest. Follow her on Twitter
of a building. If a fire is necessary from rising floods? Large metal @MoriahRichard93.
FORALL AGES
Writing and publishing advice for picture books, middle-grade, and young adult storytelling.
BY EDEN ROYCE
Tips for Writing Captivating

Historical Middle-Grade Fiction
H
istorical fiction in middle-
grade can be a challenge for
the most dedicated writers.
With a target audience of 8–12-year-
olds, some of whom have access to
the latest and greatest in modern
technology, how do you come up with
a book idea that will appeal to them?
Especially a book set in a time period
that had none of the things they’re
so attached to. No video games, no
phones, no TV … no internet?
The thought alone can unnerve
even the most seasoned writ- process in writing Root Magic with Imagine how impactful it would be
ers. Perhaps the most challeng- you. (Yes, only some. The rest of the for a kid to do their own research
ing aspect of all is: Once you have process is, of course, “add a bit of and realize what truths they first
a story idea and a time period to magic.”) learned about from your book.
set it in, how do you craft an entire Here are a few things to keep BE CREATIVE IN YOUR RESEARCH.
novel that will hold a kid’s attention in mind when writing about a In addition to online sources, find
until the end? How do you ensure it historical time period for a middle- physical books that may not have
doesn’t read like a history textbook grade audience. been digitalized. Visit museums
they’ll run away from—possibly This may go without saying, but and historical sites. Locate old
screaming and waving their hands DO YOUR RESEARCH . Your book diaries, photos, and letters for actual
until they finally seek comfort in a may be the first experience a young historical accounts of people in
game on their phone? reader has with the time period or the period you’ve chosen to write
There’s so much talk about kids the real-life events you’re writing about. If you’re lucky enough to
not enjoying books nowadays that about, so you want to do your have people still living from that era,
seeing the tweet (pictured on this best to get the details right. Even find and talk to them as I did before
page) about my historical middle- though this is historical fiction, writing Root Magic. Ask if they’re
grade novel, Root Magic, was a and you’ll be crafting a narrative willing to share their stories. Other
delight. It cemented for me that it is about a character all your own, it’s people are some of the best sources
possible to write a book kids enjoy important the factual information for learning about the culture of a
that’s set in a time long before they you do include is as accurate as time. Grandparents, aunts, uncles,
were even thought of. But how is possible. Hopefully, your work will and friends. Ask those in assisted
it done? I can share some of my inspire the reader to learn more. living or nursing homes to have

a chat. Reach out to colleges and tend to write more lovingly about it. Your book may be
universities to speak with librarians Kids can tell when you’ve included
or professors who are experts in that a bit of yourself in the book and are
the first experience a
time period. Often academic texts more likely to immerse themselves young reader has with
lack the details, structure, and word in the story. This is also a chance to the time period or the
choice that help a story come alive include something you may have
for readers, young and old. learned in your research. What
real-life events you’re
I spoke at length with my hobbies do your characters have? writing about, so you
mother about her time as a social Inquiring minds want to know. want to do your best
worker on Wadmalaw Island, where INCLUDE THE UNCANNY. The odd,
to get the details right.
Root Magic is set. Those conversa- the unusual, the mysterious. Kids
tions are a treasure. I also did a lot love weird stuff, and history is full of
of listening when I was a kid: to my weirdness. Don’t be shy about incor- classism, police violence, and the
grandmother’s stories about grow- porating some of the practices you discrimination faced by Gullah
ing up on a farm, my great-aunt’s learned in your research that may Geechee people for speaking the
stories about rootworking, and the be considered strange by modern Creole language we grew up with.
stories about family members I standards. Younger readers may find Lastly, DON’T UNDERESTIMATE
never got a chance to meet. All of them fascinating. Just remember to YOUNGER READERS. They can have
those bits of living history helped keep in mind that these beliefs and complex opinions on topics that
when I sat down to write. practices may have been part of a are going on in their lives. They
KEEP IT CLOSE TO HOME. Not the culture unfamiliar to you and be can understand more than adults
setting, but the challenges charac- thoughtful about how you present typically give them credit for and
ters are going through. When writ- them. That directly leads me to … they don’t like being talked down
ing for kids, remember they have SHOW THE REALITIES. Practices to. Let your characters deal with the
more limited experience with the that have been historically maligned real problems of the world around
world than most adults, so an effec- like the rootwork and hoodoo them; it gives younger readers the
tive story has to meet their basic in Root Magic have been used as confidence to deal with their own
needs. Family, friends, food, shelter, fodder for horror novels for ages. concerns. It’s part of growing up.
safety, love, acceptance, and—of But most of these accounts are Part of being human. And it’s not
course—some fun. When these written by people who have not too early to start.
necessities are challenged in a story, done research or have never lived
The world of history can be
kids get it no matter what the time in those communities. So, those
fascinating to young readers. You as
period. It hits close to home for books tend to perpetuate existing
the author have the added benefit
them and they can empathize with a and harmful stereotypes. I wanted
of being able to say: “That really
kid who desperately wants a friend, to show the true intent and history
happened!” or “It’s a real thing!”
as Jez does in Root Magic. They behind rootwork and the lives of
Which if you’re lucky, can help
understand when her brother Jay people who practice it in a way
set them on a path of a lifetime of
wants to protect her from a bully. A people outside of the community
reading enjoyment. WD
character’s struggle to meet those have ever seen.
needs makes a story compelling. What can also make historical
ADD A FEW OF YOUR FAVORITE fiction compelling is that HISTORY
THINGS. Are you a foodie? A sports REPEATS ITSELF. We have not solved
Eden Royce (Linktr.ee/edenroyce) is a
lover? Maybe a gamer? Incorporate the problems of the world as we writer from Charleston, S.C. now living in
your personal interests in your think we have. There’s a lot that the Garden of England. She is a Shirley
historical fiction. Have a character still needs to change. Many readers Jackson Award nominee for her short adult
fiction. Her debut middle-grade novel,
play a game popular in that time have mentioned that Root Magic Root Magic, is a 2022 Walter Dean Myers
period or make a recipe from that could have been set today, given Award Honoree and a Nebula Award
era. When you love something, you similar experiences of racism, Finalist for outstanding children’s literature.
CONFERENCESCENE
Events to advance your craft, connections, and career. BY KRISTY STEVENSON
Taylor University’s
Professional Writers’
Conference
Hosted by the Professional Writing
major at Taylor University, a
Christian liberal arts college, this
event is in its sixth year.
WHEN: July 28–30, 2022. WHERE: (Hartline Literary); Bob Hostetler in Upland, is famous for its 100
Taylor University, Upland, Ind. PRICE: (Steve Laube); Denise Hunter; different shakes and 100 different
$139 (Fri.-Sat.); $139 teen (16+) Alexandra Mellen (Christianity sundaes. Huffington Post named it
track or advanced track (Thurs.- Today); Edwina Perkins (Iron Stream as “the one thing you must do” in
Fri.); $249 all (Thurs.-Sat.). Includes Media and Harambee Press); Rachael the state of Indiana. In addition to
conference, meals on campus, one- Phillips; Lincoln Reed; Alyssa Roat ice cream treats, customers love their
on-one appointment with faculty, (Mountain Brook Fire); David hamburgers, chicken salad, fruit
and one-on-one social media help Sherrer; Lydia Sherrer; Linda Taylor; salad, and tenderloin sandwiches.
if desired. On-campus housing is James Watkins; PeggySue Wells; FOR MORE INFORMATION:
available for a fee, or there are hotels and Brenda Yoder. HIGHLIGHTS: TaylorWritingConference.com
within three miles of campus. WHAT Three keynote sessions focus on
MAKES THIS CONFERENCE UNIQUE: inspiring writers and how faith Catamaran Writing
“We have found our niche being a is important in the process, with Conference
Midwest Christian conference that’s Edwina Perkins discussing building Welcoming writers of all levels, this
short, affordable, and a friendly and diversity in writing and publishing. west coast event is in its ninth year
welcoming place for writers of all Track 1: Breaking In—Outlining and draws attendees from all over.
ages and experience levels,” says your way to success; Perfecting your
Director Linda Taylor. Offering pitch; Writing your book proposal; WHEN: July 31–August 4, 2022.
an advanced track for those who Writing devotions that sell and WHERE: The Robert Louis Stevenson
want to take their craft to the next inspire; Breaking in via freelancing; School, Pebble Beach, Calif. PRICE:
level, they also provide a teen track 22 ways to get publishers to say yes $950 for the full conference includ-
that specializes in teaching young in 2022; Self-editing basics. Track ing three community meals per
people about the publishing world. 2: Staying Current—Disabilities in day. Four nights onsite lodging is
The event holds a mock publication fiction; Getting started in podcasting; also available as part of package
board meeting, genre gatherings, and Does my writing offend you?; deals; see website for details. WHAT
an open mic night. For teens, they Writing, mental health, and how to MAKES THIS CONFERENCE UNIQUE:
also offer special night-owl activities take care of you; Ask a bestselling “We offer an immersive experi-
that are run by the conference staff. author anything. Track 3: Specialty ence,” says Founder and Editor-in-
TAYLOR UNIVERSITY PHOTO © JIM GARRINGER
HOW MANY ATTEND: 100+ FACULTY: Markets—Writing for children; The Chief, Catherine Segurson. Through
Presenters include: Megan Alms basics of scriptwriting; The basics workshops, lectures, and presenta-
(Olive & Quill); Timothy Berkey; of newswriting; Writing immersive tions, you’ll have the opportunity to
Hope Bolinger (End Game Press); fantasy; Writing the cozy mystery; form lasting relationships beyond
Julie Campbell (Warner Christian Blogging your way to publication; your time at the at the event. “About
Resources/Warner Press); Aubree Writing not-too-sweet romance. IF half of our attendees have already
DeVisser; Carol Fielding; Linda Glaz YOU GO: Ivanhoe’s restaurant, located published books, so the classes are

Preparing for the New Normal
As we contemplate what the “new normal” might look like, many long for the
comfort of old routines. Naturally, conference attendees are concerned about
health and safety, expecting assurances that the right measures are in place.
It’s likely that everyone will have higher expectations for face-to-face events
post-COVID—from hygiene to hybrid.
Attendee registration and check-in may require the most modifica-
tion, especially if the event requires proof of vaccination. Remember to
pay attention to conference communications leading up to the event.
Conference leaders are investing in safe experiences by creating breakout
groups or workshop sessions that foster discussion and welcome remote
contributors, some encouraging a more retreat-like environment that’s less
intimidating than a big hall.
I expect that hybrid meetings, with both virtual and in-person atten-
dance, will be the standard as opposed to the exception going forward.
Balancing the external needs of participants with the internal needs of a
team can be a juggling act. But hybrid conferences offer a healthy mix
of enthusiasm, giving those who long for camaraderie the opportunity
to gather again. And for those who cannot afford to travel or are more
comfortable continuing to use the creative platforms that were born from
our need to shelter in place, virtual options level the playing field and open
attendance—and speaker options—to a wider audience.
TOP TIPS:
• Plan ahead! Research meals, mask requirements, safety updates, and
hours of operation for everything.
• Be open to change. As CDC guidelines and those of the conference
venue may still be in a state of flux, be ready and, more importantly, be
understanding.
• Whether you are attending in-person or remotely, always make the
most of the experience, gleaning nuggets of information and style that
you can incorporate into your own writing.
for serious writers, or for those evening. IF YOU GO: Participants

who want to be challenged,” says have the option of taking daily liter-
Segurson. Attendees also have full ary themed excursions offered in the
campus access during free time after afternoon free time, which include a
lunch, including the library, com- private, guided tour of the Robinson
munity lounges, and Olympic size Jeffers Tor House, as well as the
swimming pool. HOW MANY ATTEND: Ricketts Lab on Cannery Row where
50–75. FACULTY: Presenters include John Steinbeck and Ed Ricketts
Mark Allen Cunningham, Dorianne wrote the Log of the Sea of Cortez
Laux, Alison Luterman, Christine together. There is also a hike on
Sneed, Joan Rose Staffen, and Patrice Point Lobos which inspired Robert
Vecchione. HIGHLIGHTS: In addi- Louis Stevenson’s book Treasure
tion to a keynote presentation, ses- Island. FOR MORE INFORMATION:
sion genres include Poetry, Fiction, CatamaranLiteraryReader.com
Nonfiction, and Writing Retreat. /writing-conference-2022 WD
Each genre features four daily group
literary workshops in a group of up
to 12 participants. Nightly recep-
tions on the outdoor terrace will be Kristy Stevenson (KristyStevenson.com) is
a freelance writer, editor, and storyteller.
followed by literary reading presen- A native Cheesehead, she’s a southern
tations from conference faculty with transplant currently residing in central
a participant reading on the final N.C. with her husband and two children.
CONF ER ENC E G U IDE
WRITER’S DIGEST NOVEL WRITING

CONFERENCE, presented by Writer’s Digest.
CONFERENCE GUIDE Writer’s Digest returns in-person to the West
JULY/AUGUST 2022 Coast on October 20–23, 2022 with many of
• Keep in mind that there may be

publishing’s most respected and knowledgeable
writers, agents, and editors to guide you SPEAKER!
more than one workshop in each through the process of writing, editing, and
of the listings. publishing your novel. Hone your craft, refine
your characters, explore the future of publishing,
SPEAKER!
• These workshops are listed alpha- and get the tools you need to advance your
betically by state, country, or career as a successful novelist. Brought to you
continent. by Writer’s Digest, the experts at nurturing
and developing writers at every stage of their Our editors are available to
• Unless otherwise indicated, rates career for more than 100 years. KEYNOTE
include tuition (T) only. Sometimes ANNOUNCEMENT: Opening Keynote: Attica
speak at your conference
the rates also include airfare (AF), Locke! Hear from the Edgar Award-winning or workshop. We’re happy
some or all meals (M), accommoda- author and screenwriter! Check the website for
to talk about technique,
more information and announcements
tions (AC), ground transportation business, or inspirational
Novel.writersdigestconference.com. Registration
(GT), materials (MT), or fees (F).
is now open! Register today for the best price. topics. We also help evaluate
• When you find workshops that Contact:
[email protected]
query letters or book
interest you, be sure to call,
Novel.WritersDigestConference.com proposals. We won’t break
email, or check the website of
the instructor or organization for your budget, and we’re
additional information. fun people!
NEW YORK
• All listings are paid advertisements.
WRITER’S DIGEST ANNUAL
CONFERENCE, presented by Writer’s
Digest. REGISTRATION is now open! Writer’s
CALIFORNIA Digest Annual Conference is thrilled to
announce our 2022 conference dates: July
ANNUAL GREATER LOS ANGELES 28–31, 2022 at the Hilton Midtown in New York
WRITERS CONFERENCE, produced by City. We’re excited to meet in person in 2022!
West Coast Writers Conferences at the new The Writer’s Digest Annual Conference offers
Hilton Los Angeles, Westside Culver City. everything you need to advance your writing
August 5–7, 2022. Writers of all genres and creatively and professionally. Gain invaluable
disciplines benefit from this popular educational tips to improve your craft, explore publishing
and inspirational three-day event on the craft options, and learn how to establish a sustainable
and business of writing. Our 32nd conference will
career—all while being inspired by successful
feature multi-track programs for what we call
authors and your fellow attendees. Brought to
the 3-A’s™ (Aspiring, Active, and Accomplished)
you by Writer’s Digest, the experts at nurturing
for writers of fiction, nonfiction, and screenplays.
and developing writers at every stage of their
Topics will be presented by 40+ literary agents,
editors, veteran educators, bestselling authors, career for more than 100 years. KEYNOTE
and industry professionals in progressive ANNOUNCEMENT: Closing Keynote: Tiffany
streams of seminars, workshops, and panels. Jackson! Past WDC attendee, bestselling, and
AGLAWC will be presented HYBRID with both award-winning YA author! Other programming
IN-PERSON and VIRTUAL workshops. Live you won’t want to miss! Pre-Conference
critique workshops include Great Beginnings Workshop—Thursday, July 28. Mastering
for Novels & Screenplays, Query Letters, and Suspense, Structure, & Plot: 13 Tactics to Create
more. There are FREE one-on-one pitch sessions a Page-Turner in Any Genre (register for just CONTACT US AT
with literary agents and publishers looking one of the workshops or add it onto your basic
for new talent with polished manuscripts. We
[email protected]
conference registration) with Jane K. Cleland.
also offer unique informative sessions with Pre-Conference Workshop—Thursday, July 28.
the "agents du jour" to help prepare for your WD EDITORS AVAILABLE
Building a Sustainable Writing Career: Priorities,
actual meeting. You can also participate in
Platforms, and Getting Paid (register for just TO SPEAK INCLUDE:
Advance Submission ProCritiques™ to have a
one of the workshops or add it onto your basic
portion of your work reviewed/edited by literary
conference registration) with Jane Friedman. Robert Lee Brewer
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BONUS INTERVIEW WITH SLOANE CROSLEY | KEEP YOUR

WRITERS HELPING WRITERS SINCE 1920

JULY 28-31, 2022

New York Hilton Midtown

GET MORE DETAILS AT

40 4 0 Keep Your Creative FLOW

Find Your Creative FLOW Decisions

8 I THINK THIS IS REAL: Author and essayist Sloane

18 INDIELAB: Creating Your Story Frame

her approach to world-building, character 6 2 YOUR STORY: Facilitating Progress #115

60 7 2 PUBLISHING INSIGHTS: The Biggest Surprises and

“… I was an English minor in college and continued to

“I was energized … because of my ancestor James

4 I WRITER’S DIGEST I July/August 2022

COPYRIGHT: 2022 by Active Interest

WRITER’S DIGEST MAGAZINE IS A REGISTERED

CARTEN CORDELL is an award-winning journalist

KIM LOUISE (she/her) is the author of 11 novels CFO

part of an ensemble of plays nominated for an Arts &

AIM MARKETING SERVICES

TODAY.com, and elsewhere. Her debut novel, Dava

6 I WRITER’S DIGEST I July/August 2022

8 I WRITER’S DIGEST I July/August 2022

Worth a Thousand Words that bed & breakfast.

10 I WRITER’S DIGEST I July/August 2022

avoid when writing narrative nonfic-

12 I WRITER’S DIGEST I July/August 2022

POETIC FORM: CHANSO “The Waking of a Tree,” by R. E. Wu

Speaking raptly, rapping wood.

14 I WRITER’S DIGEST I July/August 2022

EARLY-BIRD DEADLINE: OCTOBER 3, 2022

Discover the full prize list and entry details at

Lessons From Book Two

16 I WRITER’S DIGEST I July/August 2022

In The Complete Guide of Poetic Forms, WD’s resident

Creating Your Story Frame

18 I WRITER’S DIGEST I July/August 2022

4. What does the story lose by excluding these scenes?

5. What does it gain?

20 I WRITER’S DIGEST I July/August 2022

Nikesha Elise Williams

Public Library announced its inau- an audience is extremely difficult.

How Do You Know You’re in the

22 I WRITER’S DIGEST I July/August 2022

24 I WRITER’S DIGEST I July/August 2022

POEM: “Most ﬁrst novels

should sit on If it’s a great idea, it’ll

GORDON PHOTO © DAVID KURTIS PHOTOGRAPHY BAZAWULE PHOTO © ONERPM STUDIOS

26 I WRITER’S DIGEST I July/August 2022

Writers are often told to remove passive verbs

attention to passive verbs can be rewarding.

28 I WRITER’S DIGEST I July/August 2022

30 I WRITER’S DIGEST I July/August 2022

But I think the bigger reason we see overuse of the

32 I WRITER’S DIGEST I July/August 2022

Learn more at writersdigest.com/writers-digest-competitions/self-published-ebook-awards

When you’ve hit a writing rut but

34 I WRITER’S DIGEST I July/August 2022

36 I WRITER’S DIGEST I July/August 2022