Now Available: Personal Writing Sessions!

 

In April, I enjoyed a lovely Zoom chat with a writer who had won the session from my preorder campaign for The Stolen Kingdom. She sent me her first chapter ahead of time so I could do a line edit, and she came to the meeting prepared with specific questions. It was a wonderful thirty minutes! The best part was watching her have distinct "Eureka!" moments as we talked.

It was so rewarding to watch a fellow writer become inspired and encouraged to press on with her work. I loved it so much, in fact, that I've decided to make it a thing.

Introducing: AUTHOR SESSIONS WITH JILLIAN BOEHME

For the first time, I am offering private, one-on-one sessions in which we can discuss your writing. This takes helping aspiring authors to a whole new level for me--it's personal, it's interactive, and it's fun!

Here's what Carla says about her 30-minute session with me:

I recently won a 30-minute consult with Jillian on my first chapter. It was a break-though consult for me. I had already shared my first chapter with 5 beta readers, and 5 critique partners. I felt like it was as good as I could make it. It is definitely a step up now after my consult with Jillian. What made her feedback so valuable for me was her ability to articulate, in a very non-threatening manner, not just the what but why certain changes needed to be made. The changes that she recommended were something that my critique partners had mentioned and I thought I had already addressed. Jillian helped me understand the underlying reason that I needed the changes and suddenly I really understood what I needed to do. Besides looking at content we discussed voice and where to go next. She gave me some great tips for moving forward.

Being the experienced professional, Jillian was able to focus in on what was needed to add that final touch to my first chapter. Her helpful and direct approach made her feedback so accessible to me I was able to resolve weaknesses in my first chapter more succinctly than before, while still getting confirmation for the things I did that worked. I couldn’t recommend her more highly.

If you'd like a similar experience (and I'd love the opportunity to work with you!), I'm currently offering 3 different sessions at introductory prices:

The 30-minute session: This is a Q&A chat tailored by you! Come to the table with all your questions, whether they're about your current WIP, your writing in general, querying, the publishing industry--or anything else you can think of!

The 40-minute session: This session is specific to your WIP. I will ask you to send your first chapter (up to 10 pages) ahead of time so that I can line edit it prior to our session. We will spend most of our time discussing your work, though there will also be time for you to ask questions on other topics.

The double 40-minute session: The best deal! I will ask you to send your first 25 pages for a detailed line edit prior to our first session. After we've met, you can decide how much time you need before we meet again (2 to 4 weeks, probably, but it can be longer if you need more time). You'll also receive a 25% discount on any session you choose to purchase next.

Interested? Drop me an email at jillian@jillianboehme.com. I'd love to hear from you!

REPOST: Battle of the Critiques

This a post from almost 4 years ago that I came across accidentally while searching for something else on the blog (go ahead--ask me how many bunny trails I go on every time I do a search!). With an influx of new readers here, I felt this might be timely for some of you.

Critique is such an important part of our journeys as writers--we simply cannot grow without it. Our stories will never be the best they can be without the eyes and words of others. But what happens when we receive conflicting opinions? How do we sort out the good from the bad? What does it even mean when we receive feedback on opposite ends of the spectrum?

I hope this article will offer you some clarity--and encouragement!

Battle of the Critiques

Anyone who has sent out a manuscript to a group of readers (which may or may not include your agent) knows what it feels like when those critiques start to roll in.  Each one that lands in your mailbox makes your stomach do this weird, twisty thing that's a combination of excitement and dread.  You're dying for the feedback, but you're not too excited to have your work's flaws highlighted in lime green for all the world to see.

Okay, it's not all the world.  But it can sort of feel that big.

The collective wisdom of the critiques--assuming you're sending them to the people who should be reading you--can either gently or not-so-gently open your eyes to inherent flaws in your story.  A gaping plot hole that you might have missed will be easily spotted by those who've never read the story before.  A protagonist who does a big Thing without having a believable motivation is going to be crucified by those who just aren't buying it.  Good readers will ask questions like, "Why is she doing this right now?" and "Could this have believably happened in the time frame you've outlined here?" and "What the heck did he do that for?"

And, too, there's the ever-useful "Huh?"  I've used it myself.  Sometimes it's just that the reader missed something she shouldn't have.  But more often than not, it means "this thing you just wrote makes absolutely no sense and I'm not even sure how to address it".

I see you nodding.

As your writing matures, the nature of the critiques shifts.  It's likely you've learned, at some point, how to avoid plot holes, and how to write dialogue that doesn't sound like Lord of the Rings fan fiction.  Your critique partners will pull out things that are more subtle, like a protagonist whose arc isn't strong enough, a supporting character who doesn't add anything to the story, or information that is being shared too early or too late.

The key to knowing which advice to hold onto is twofold: 1) You need to be hearing it from more than one person, and 2) It needs to resonate with you and with your vision for your story.

So, if one person says "Ed the Janitor has no real purpose in the story, and I think you should delete him", and five people say, "Ed the Janitor is my favorite supporting character", then probably Ed's role in the story is safe.  But if more than one critique partner is pointing out the inherent weaknesses in Ed's character, then you need to listen.

It takes an open heart--a combination of vulnerability and teachability--to be able to receive what people are saying so that you can then move toward allowing it to resonate with your story.  That's when you start asking questions like, "Okay, what does Ed really accomplish?  Do I need him?  Is that scene in chapter 12--the one I love so much that it's going to be engraved upon my tombstone--really adding to the plot?"

Those questions can be painful!  But so it goes.  As a general rule, if more than one set of eyeballs sees the same problem, YOU'D BETTER PAY ATTENTION.

You probably know all this already.  I certainly know it.

So you can imagine my reaction when, earlier this week, I received two critiques on the same day that were polar opposites.

I'm talking, there is no way that these two people read the same story.  

Reader #1:  "...spellbound and incredibly invested in the characters"
Reader #2:  "I had no sense of any of the characters...there was nothing to like about them."

Reader #1: "I had a hard time putting the book down and I feel like you hit all the really big moments beautifully."
Reader #2:  "...there was nothing to hook me..."

Now, before you make the assumption that Reader #1 was my mom--she wasn't.  Both of these readers are highly qualified to critique a manuscript.  Both are talented and experienced.  Both are honest and forthright.  

Reader #1 went on to point out (beautifully) all the areas she felt needed work (I agreed with every single one).  So it wasn't all cotton candy and fairy wings, for sure.  And Reader #2 made it clear that she was this level of honest because of our relationship and her belief in my abilities.

Meanwhile, my head kept spinning.  Counterclockwise, rapidly.

So I sent a mildly frantic message to Reader #3, asking if she had time to read my first chapter and tell me everything she hated about it.  (Yes, those were my exact words. I wanted all the ugly up front.)  This reader is also highly qualified and experienced.  And knows how to be brutally honest.

Reader #2: "The biggest problem I found was no real worldbuilding."
Reader #3:  "Your world is solid...but almost too detailed."

So I did what I always do when I don't know what's going on -- I asked Jodi Meadows, who is bossy and likes to always be right.

Her response?  "It's probably a good sign, actually."

I had no idea what she meant.

So she clarified, and it made sense:  People are having different reactions.  They're not all pointing to one inherent flaw, like a broken plot or a superfluous character.  They are reading the same words and seeing different things.  Some of them pointed out similar flaws (like too much telling when I should be showing, or a lack of clear motivation for my main character), but there was no single, enormous flaw that ALL or MOST readers have pointed out.  (Others have read, too, besides these three.)

Know what's most encouraging of all?  I am incredibly motivated to revise this based on ALL the feedback, including the heart-knotting response from Reader #2.  Which speaks well for my ability to get slammed with conflicting (to a high degree!) critique and to move on quickly.  Already, I've done work on the first chapter with which I'm really happy.  As in, I am eager to pull it out this morning to continue fine-tuning.

Honestly, I'm sitting here thinking, Who am I?  I'm so thankful to be not only emotionally stable this morning, but incredibly excited to write today!

Because, oh, this story.  It's on the cusp of becoming what I dreamed it would.  And I'm digging in and not letting up until I'm finished.

Reader #1: Thank you for your incredible support and brilliant insight.  You rooted for me all the way through the first draft, and you're still working your magic.  It is my intention not to let you down.

Reader #2:  Thank you for your courage, and for honoring me with raw words that you self-admittedly would not have sent to someone with whom you didn't have a relationship.  Thank you for loving me instead of fearing to offend me.  Because of you, I have discovered within myself depths that I didn't know existed.  And that's no small thing.

Reader #3:  Thank you for rescuing me!  And for your incredibly thoughtful and encouraging critique.  I covet your eyes on my work, because they've always produced good things.  You are kind, you are gifted, and you are appreciated.

Jodi:  You are bossy and you are beautiful.  And you, my very first critique partner, have walked me all the way through this journey--with grace, selflessness, wisdom, and humor.  You taught me that I could grow wings and fly.  And you're still teaching me.

To everyone:  We are all part of the same circle.  May you learn from me today as I continue to learn from those around me--and may you go on to share what you've learned with others.

And keep writing, no matter what falls down around you!

A Whole New Level of Pushing Through

Many of you have been following my blog for a long time--since before I was agented, since before I'd gone on submission with not one or two or three or four, but FIVE novels that didn't sell. I wrote a lot of posts about persevering, pushing through, never giving up.

Signing my contract with Tor Teen was definitely an arrival--a moment long awaited for, long dreamed of, long worked toward. But it was by no means the end. The hard truth is that perseverance and determination and chutzpah are just as necessary after you've landed your first book deal. Because--and here's the kicker: writing doesn't get any easier.

I mean, you all know that writing is hard, right? This writerly journey isn't for wimps! And getting your first book out there doesn't mean you're suddenly a pro who doesn't have to do more than blink one languid eye to produce the next novel.

As most of you know, I signed a two-book deal, and the second book was listed as "Untitled YA". True confession: I was immediately intimidated. Why? Because SOMEONE WANTED TO BUY A BOOK I HADN'T EVEN DRAFTED YET. That may sound like a dream to some of you, but for me it was a few breaths shy of a nightmare. One of my pre-published fears was that I would find myself writing a book that people were waiting for--and I wouldn't be able to do it.

That's a bit of a scary monster to overcome, yes?

Sure enough, my novel-in-progress has been a slogfest. I've groaned and wept and gnashed and cursed and stared and snarled my way through this process, day after day. I started the second draft before finishing the first because it was such a mess I couldn't write the denouement. Then I started the third draft when I was halfway through the second because I'd gone way off track again.

I think I'm finally on track--and EXCITED!!--about my new story, which will be out September, 2020. Which, considering how quickly the past year has zipped by, isn't that far away.

All that to say--hard work is hard work. Regardless of whether you're doing it before or after you're agented, or before or after you're published, it is what it is. Writing stories is glorious and fulfilling. It's also exhausting, overwhelming, and brain-sucking. 

Sometimes it makes me cry.

Sometimes it makes me feel like I should never have decided to be a writer.

But at the end of the day? It makes me feel empowered. Creative. Purposeful. And proud of myself for pushing through the hard bits.

So my mantra on this side of the journey remains the same: Never Give Up. I'm still living that, and I expect I always will. Nothing worth doing is easy; nothing worth sharing is effortless. Sharing our words with the world is a high calling, and we've got to be prepared to dig in until we're barely standing.

And then we can eat some chocolate or queso or or or MOON CHEESE (my new favorite snack) and keep going.

Believe in yourself! Believe that, when you are flat on your back and ready to quit, tomorrow you'll have what it takes to write another page, another scene, another chapter.

Hooray that we're all in this together! Hooray that we can rely on each other when we're feeling like we can't do this anymore!

Deep breath. Eyes wide open. Jump back in.

Onward!

The Plague of Inadequacy

Victoria Schwab

I've been so absent. But then, I knew this was coming--there is a vastly different feel to writing TOWARD the hope of publication and writing AFTER you've signed a contract--and your editor has set a date. It's odd, really; I'm doing the same thing I've been doing for thirteen years, but the underlying pressure of knowing it's already sold and I-have-to-get-this-right is a reality I'm learning to embrace.

Victoria (V.E.) Schwab recently posted the above quote on Instagram. I read it and it stabbed me deep in my belly, because THIS IS EXACTLY HOW I FEEL. The encouraging part is that the feeling of inadequacy isn't paralyzing me. I simply keep pressing ahead, writing my 1000 words a day, learning to multitask story restructuring with continued drafting (definitely a new place for me). And I'm learning that pressing through the underlying belief that I don't know what I'm doing and every word on the page is dung is making me stronger and more capable.

Mind you, there are always the unbidden bouts of angst that grab me by the entrails and shake my world for a time. That's when the tears come--those moments where I truly and utterly believe that I CAN'T DO WHAT I'M ACTUALLY DOING.

Think about that. I'm DOING it, but I don't believe I CAN do it. Even though I've DONE it before.

Are you feeling it? Nodding vehemently, maybe? Fighting your own tears?

What we create is always bigger than we are, because that's what art is, in all its forms. BIGGER than us, to draw us out and encourage our minds and hearts and spirits to expand. It's also bigger than us because it really does take a village to create a book. We all know that writing doesn't take place in a vacuum, and that the input from our beta readers and critique partners and agents and editors is a huge part of each story's development and final state.

Yet the feelings of inadequacy persist. So I fight through them every day, enjoying moments of sparkle and moments of hope along the way (though it's not unusual to have many days in a row without any hope at all). Sometimes I actually say out loud to myself, "Why am I doing this?" or even "I can't do this."

Seriously. That's called SPEAKING LIES TO YOURSELF. And I know better.

Anyway. As soon as I read Victoria's words this morning, I knew I had to share them. My brain screamed THIS THIS THIS THIS until I saved the file and opened Blogger. Because always, always, always, there is someone who desperately needs not to feel alone. Someone who feels so inadequate in the moment that quitting feels easier.

Don't do it. Don't quit.

And now, if you'll excuse me, I'm heading back to Scrivener and my hot mess of a story (that, deep-down inside, I'm excited about, despite the first draft slog and the constant I-can't-do-this), and I'm going to SLAY the sense of inadequacy today.

And so are you.

The Noble Princess, by Molly Boehme

It's probably no surprise that I have some offspring who write. Many of you already know that my oldest daughter Maggie recently signed with Danielle Burby (we share an agent!). But it's my youngest's work I want to showcase today.

I'm not sharing this because of any special level of talent--there isn't one. Yes, she's bright and well read, but what I love about the story is the fact that she quite unwittingly wrote a badass YA heroine.  See for yourself:

The Noble Princess 

Once upon a time, there lived a charming princess whose name was Autumn. She lived in the most beautiful castle with splendid rooms and a lovely garden.

Autumn was learning all the proper things a princess should know, like dancing and curtseying and many more graceful things. Autumn did not enjoy it, though, for secretly she wanted to fight with soldiers and lead battles--very surprising behavior for a princess. 

One day she had a talk with her best friend--and brother, too--Forest. Forest was two years older than Autumn (who was sixteen). They both had raven black hair, and while Autumn had brown eyes, Forest had forest green eyes. Autumn pleaded with her brother to teach her to fight and defend herself, and reluctantly, after many tears from Autumn, he agreed. So every night they crept to the training chamber and practiced.

A year later, Autumn was doing her princess things when the alarm bell sounded. The castle was under attack! Her mother tried to usher her into the safe hiding spot, but Autumn pulled away and started running to her room. She pressed a hidden panel in the wall where she had been keeping her training armor and hurried to put it on.

The soldiers tried to stop her as she went running past them to the front doors, but she would not stop. With a battle cry, she launched herself at the leader of a giant army--the greatest and most feared leader of the seven seas. She stopped suddenly as she realized who she was facing, then charged. The soldiers, encouraged by her bravery, yelled and fought. What seemed like hours later the war was over. Autumn's kingdom had survived.

What I mostly want to point out is that I have never sat down and taught Molly how to write a strong female character.  She knows the premise of my upcoming novel, but I haven't allowed her to read it yet (she's not quite 11, so I'm making her wait; mom's prerogative). I'm sure my storyline of girl-dresses-as-boy-and-runs-away-to-the-army inspired Molly's story in some way (and she did steal one of my character names!).

I'd also like to think, though, that she unconsciously drew from her own life. She has two brothers, so in addition to growing up with dress-up and Barbies and ballet, she has also climbed trees, played "war" with her (mostly male) neighborhood friends, and learned to shoot an arrow with the miniature bow her hunter brother gave her one Christmas.

My favorite part of Molly's story? This: The soldiers, encouraged by her bravery, yelled and fought. Not only is our heroine strong and brave, but she ENCOURAGES OTHERS TO RISE TO THE MOMENT. A true leader!

In her little-girl way, Molly has touched on the beauty of a strong leading lady who isn't harsh or angry or trying to be something she isn't--she just knows what she wants, works hard, and then leads others to victory, going against everyone else's expectations of her.

I'm a proud mama. And yes, I did ask Molly's permission to post this today. She says she is honored. Good thing, because I'm honored to be her mom.

Thanks for indulging me. Here's to raising up the next generation of writers, one pink-inked, scribbly story at a time!

One Young Writer

My niece will be 14 next month.  She lives and breathes ballet, and I'm thrilled that she is now studying at the School of Nashville Ballet.  She's also a gifted baker, a dependable childcare giver, a decent photographer (photo cred for the pointe shoe shot) and a lovely young woman.

And she writes.

Writing is one of her more recent pursuits, but like everything in her life, she isn't going at it halfway.  I knew she'd begun writing, but even her mom wasn't allowed to see anything she'd written.  When my grown daughters both shared with me that their cousin had let them read some of her stuff, I was determined to dig my little claws loving fingers in.

Fortunately, she bent, and shared with me the first chapter of her WIP.  To say that I felt honored is an understatement; garnering the trust of a 13-year-old is no small thing.  We all feel a bit "undressed" the first time someone reads our work, yes?  And these emotions are especially heightened in the young teen years.

You can tell my niece has what it takes.  And you can tell that she has read a lot of books.  Truth:  reading lots of books really does affect the depth and quality of your writing.  If you aspire to be an author but you never take the time to read novels, then you will never truly become the writer you want to be.  So, yes, my niece's reading habits are reflected nicely in her writing.

Her setting is historical--the "prairie" years of the United States--and she already has a great sense of how to create tension.  Is she ready to query agents?  Of course not.  Her work is raw, young, undeveloped. But SHE IS WRITING.  Her characters have emotion and believability.  She instinctually knew that she needed to create an inciting event that would propel her protagonist into the story arc.  With an instinct like that, this girl will go places.

Here's what struck me most of all:

Yep.  Those are STICKY PLOT NOTES ON HER CLOSET DOOR.

What 13-year-old does this?  As soon as I saw this photo on her Instagram, I knew I wanted to write a blog post about my niece.  When I was 13, I had lots of story ideas that I started to write, but never finished.  I didn't even know what it meant to "plot a story".  Thanks to the Internet and the wealth of resources out there for writers, my niece is already way ahead of the game.

This is very much her personality as well, so I'm not completely surprised to find that she works out her stories so meticulously.  But still.  SHE'S 13.

I don't know.  Maybe I was just a slacker, but I find this attention to detail extraordinary at this age.

(Yeah, I'm doting a bit.  But I never gush about things that don't truly inspire me, so it's not blind dotage, I assure you!)

She's even got the find-a-pleasant-spot-to-write thing down.  This is a "work station" on the back deck of her home.  I'm pretty sure I'll be having coffee/writing dates with this gal at some point!

I love--I absolutely love--to fan the flames of passion in young people who write (or who do anything else that I also do, like music).  If anything reaffirms my own undying devotion to the art of writing, it's finding and affirming that same flame in someone less one third my age.  I'm so delighted to see my niece wholeheartedly pursuing this!

Need a pick-me-up?  Find a young writer and pour yourself into them.  You'll both benefit!  And you may just find yourself squealing and doting over someone with a fresh mind and an eager pen who wants, perhaps, to be just a little bit like you.

You have much to give, dear writers.  Go forth and give it!

My Biggest Announcement Ever

You've walked with me through a large chunk of my 12-year writing journey.  Some of you have followed this blog from its inception, and some of you came along a bit later, but you've all BEEN HERE in one way or another.  That's why I'm certain you'll share my joy at the following:

I have nothing to add.  I am utterly OVER THE MOON.

That smile?  Completely genuine.  I asked my lovely daughter for an Author Photo Shoot, and smiles have never come so easily.  (A lot of it had to do with the fact that she's a fabulous photographer and makes you feel like a model during the shoot!  But I may also have had an inordinately large store of inner glee.  Because BOOK SALE!)

I can't even call this a Cinderella story, because she didn't have to wait TWELVE YEARS for her dreams to come true.

Thank you for sharing this moment with me!  And oh, my dearest writerly comrades--KEEP PURSUING YOUR DREAMS!  Because if after 12 years I can finally say I've made it, then ANYTHING IS POSSIBLE.

Absolutely anything!

On Gabrielle Harbowy and My First Published Story

I have a lot to thank this gal for.

Years ago, for no reason that is clear to me, Gabrielle Harbowy took an interest in me--or at least in my blog.  In 2010, she interviewed me for her blog (the link is no longer active, else I would share it), which was a big dose of affirmation for me.  The following year, I met her for breakfast in San Francisco, and she posed for what has turned out to be one of my favorite pictures of people-wearing-my-red-hat.  She was utterly lovely, and made me feel like she was honestly glad to meet me.

You have to admit she wears the hat well!

For those of you who don't know Gabrielle, here is her bio:

Gabrielle Harbowy copyedits professionally and is a submissions editor at the Hugo-nominated Apex Magazine. With Ed Greenwood, she co-edited the award-nominated When the Hero Comes Home anthology series; their latest anthology endeavor is Women in Practical Armor, from Evil Girlfriend Media. Her short fiction can be found in several anthologies, including Carbide Tipped Pens from Tor. She’s also the author of two novels: Hellmaw: Of the Essence (TEGG) – which won Runner-Up in the Science Fiction/Fantasy category at the San Francisco Book Festival, and Gears of Faith (Paizo). For more information, visit her online at @gabrielle_h or gabrielleharbowy.com.

Gabrielle has been a big supporter and participator on this blog over the years, showing her face in places like The Baker's Dozen and Adorable Editors as well as announcing open submissions for Dragon Moon Press (and nabbing authors!).  I've always been grateful for this.

I was especially grateful, though, when, in 2012, Gabrielle invited me to submit a short story for an upcoming anthology from Dragon Moon.  When the anthology was published in 2013, the only thing I wasn't happy about was that I couldn't share it here on the blog, because of, yanno, the anonymity.  (Which is now gone!  Hooray!)

So it gives me great pleasure to finally let you know about WHEN THE HERO COMES HOME 2, a collection of science fiction and fantasy stories by a wide range of authors.  I'm honored that Beginning, my first short story, is included in this terrific mix!

You can buy your copy at AMAZON or BARNES AND NOBLE or INDIEBOUND.

Of course I'm dying to hear someone say, "Hey, I've read this! Never dreamed Jillian Boehme was Authoress!"  If that's you, please don't hold back!

Thank you, Gabrielle, for the part you've played in my writing journey.  And thank you for being a friend.

The Power of a Story

I grew up in a small town with an even smaller library.  For a while, my mom worked there, and through her, I befriended a new librarian who took me under her wing when she discovered that I loved to read fantasy.  Throughout her short stay, she sent books home with my mom for me to read, simply because she thought I'd love them (and I did).  Sometimes they were new releases that she would set aside for me; other times, they were simply books off the shelves (and who knew how old they were...and who cared!).

What a tremendous gift to give a child--stories to feed her hungry soul and stoke the deep wells of imagination within her!  This lovely woman, whose name I can't even remember, played a huge role in turning my heart forever toward the world of fantasy.  How I wish I could thank her.

Amid all those wonderful novels, a certain story niggled at my memory throughout my adult life.  I couldn't remember the title, the author, or even the main storyline.  In fact, there was really one scene that stuck out in my mind, tantalizing and frustrating me because it was all I could remember.

A sister and brother inside a barn.  A Pegasus foal hidden there.  Something evil outside, trying to get in.

Over the years, I tried to find it on the Internet.  Surely, I thought--surely--if I type in "Pegasus" and "brother and sister" and "barn", it'll pop right up on this list-of-forgotten-books.

Nope.  No luck.

Then, a few months ago, I decided to try again.  AND I FOUND IT.

It took me five minutes, and there it was.  And here it is:

The Stolen Telesm by Caroline Baxter was published by Lippincott in 1975.  It is, of course, out of print.  As you can probably tell by the photo, the copy I purchased is an old library book.

I was SO VERY EXCITED to read it.  Suddenly I was ten years old, eager to fall once again into the world where Pegasus was real and children my age got to have a grand, scary, fantastical adventure.

You guys.  The writing was horrible.

HORRIBLE.

Not only that, but the plot was lame.  Point of view jumped erratically between the brother and the sister to the point of distraction.  And the clunky, adjective-heavy sentences went on ad infinitum.

On the back flap, the author bio states that Ms. Baxter wrote this story when she was seventeen.

And Lippincott published it.  Well, huh.

Here's the thing, though, and it's a big one:  When I was a child, I didn't know about points of view or plot arcs or overwriting.  All I knew was that there was a Pegasus foal trapped in a barn with a boy and a girl.  

Now, this isn't a nod of approval toward bad writing for the sake of good story.  I think it's a travesty--really, I do--when someone who's a good storyteller does not hone his craft so that he also becomes a good writer.  (Good story and good writing are two separate things. Sometimes they are mutually exclusive.)  What I'm really saying here is that stories are powerful.

So powerful, in fact, that the best one stick with us for years despite deficiencies of writing.  So powerful that, decades after having read something, a wistful adult will search and search until she finds the long lost treasure.

You are a writer.  YOU HOLD THIS POWER IN YOUR HANDS.

It's not about lovely sentences or a wonderful premise.  It's about STORYTELLING.  And yes, there is plot arc and character arc and all that really important stuff.  But the ART OF STORY is what will draw your readers in and keep them hooked--sometimes for life.

As for me and my little book?  I passed it on to a sweet young person in my life who happens to be a fantasy-loving bookworm.  She devoured it.  Loved it.  Raved about it.  Like long-ago me, she wasn't bothered by the weak plot or point of view mess.  It was all, "Pegasus! Magic! Scary things!"

She has a steady diet of well-written literature in her life, so I don't think I've ruined her by handing her a book that would certainly never be published today.  I have it under good authority that she has recently started Fellowship of the Ring, so there you have it.  (She's not quite ten. I know for a fact that I was not reading Tolkien at that age. The sad truth is that I didn't know who Tolkien was. But that's a story for another day.)

And there you have it.  We all remember things from our childhood that, upon being revisited, don't come close to living up to our memories.  Like Moon Pies.  And freezer pops.  And Michael Landon as Pa.

But if even one kernel of a story nestles in our hearts and inspires us for years to come, it's worth revisiting, and worth giving credit to, despite its faults.  Go forth and find a story that's lodged in your brain from your own past.  Who knows--it may actually be as wonderful as you remember!

On Touching People's Hearts

I think most of us, when we sit down to write a story, aren't thinking, "How can I come up with words that affect people in ways I've never dreamed?"

It's more likely we're thinking things like, "What is going to be my protagonist's main obstacle?" and "How am I going to make this plot twist work?" and "OMG-this-is-the-coolest-world-I've-ever-ever-come-up-with!"  And if you're me, you're thinking, every day during the drafting, "I hate drafting."

But then the draft is done, and the notes come back, and the edits begin.  And after a while, after however many rounds it takes to get it right, you've got a polished novel.

And then someone reads it--someone, perhaps, who has never read one of your novels before--and it sets his heart on fire.

And you get an email that's time-stamped 2:00 AM, with a subject line that says, in all caps, MY HEART IS GOING TO EXPLODE.

And the reader is exclaiming (with many exclamation points) that he just finished, that he read it in 3 days, and that it's one of the best stories he's ever read.

It's not just about a great story or a captivating world ("I was thrown into the world and never wanted to leave," this reader said), though. It's about deep-heart issues that resonated more completely and more profoundly than you thought possible.  A level of relating to the protagonist beyond what this writer dreamed possible.  An overflowing thankfulness for how my story spoke to significant issues and situations in this person's life.

I have read this email at least six times.  Pretty sure I'm going to keep reading it, too.
What makes this even more exciting--mind-blowing, even--is that this was a "sensitivity read".  The reader was my, well, "sensitive reader".  I never expected a response like the one I received.  I never expected my words to go THAT DEEP.

The first time I read the email, it was with one hand pressed against my wide-open mouth.  Honestly.  I could hardly breathe.
That, my friends, is the unexpected reward for our labor.  We've worked hard to get everything right--the pacing, the arc, the world, the characters.  But in the midst of all that work, we really don't know--can't possibly know--how our words will affect someone.  And when they do, it's hard to describe the feeling.

It goes beyond making people cry (5 of my readers this time around cried).  Or making them happy or angry or invested in our characters.  It's something we could never plan, and rarely anticipate.

And I think it's the best part.

Never doubt that you have the ability to touch people with your words.  Indeed, it's your greatest power, and it will come only after you've put in all the time and sweat and angst and WORK it takes to create a novel.  I've been writing novels for 12 years (yikes), and there was no way those early works were going to touch anyone on a deep level.  Not even a wee prick.  So there's something to be said for honing your craft over time as well.

But don't doubt that it's possible.  I'm telling you that it is.  And that it's humbling and magnificent and beyond any experience you're bound to have as a writer.

I have no words for my thankfulness.  And blown-away-ness.

Keep writing, lovelies.  I'm beginning to believe that the possibilities are infinite.

Onward Into 2017

Isn't that the best writerly Christmas present ever?  Someone who loves me--and who GETS this writing thing, even though she's not a writer--gave it to me this year.  It pretty much sums up the past 11 years of my life.

That's right.  Eleven.

My writing goes back farther than that, really.  I self-published a non-fiction book in 2002 for a niche market, and believed myself to be an essayist, not a novelist.  A couple years after doing the non-fic thing, though, I wrote my first (terrible terrible terrible) novel.  And I haven't stopped since.

To date, I have written eleven novels.  (There's that number again.)  I don't intend to stop.

It took me five years to land an agent.  I spent five years with him, and we parted agreeably when I expressed that I thought it would be a better fit for me to move to his assistant Danielle, if she would have me (fortunately this made her smile and dance a little).  And I've just spent an amazing first year with her.  I'm so excited about what we're currently working on that I can barely breathe.

Yes.  After eleven years, I'M THAT EXCITED.

In the past couple of weeks, both as "Authoress" and as "Real Me", I've had folks online express that it's because of my blog/facebook posts/words/life that they haven't given up on their writing.  

This means the world to me.

When I launched this blog in 2008, I never dreamed it would be a place people would come because THEY NEEDED TO HEAR MORE WORDS OF ENCOURAGEMENT FROM THAT GAL WHO IS STILL WAITING FOR HER SHIP TO COME IN.  In fact, had I known that, I may have thrown my computer out the third-story window and never written another word.

I mean, who wants to be THAT girl?  THAT story?  Who wants to be the one with the long, painful journey that others can derive hope/strength/encouragement from?

Yet that's my story.  And I'm thankful for it.

I'm thankful for every person who says, "You haven't given up, so I'm not going to give up, either."

I'm thankful for every person who thinks that, even if I never hear the words.

That's why I'm here.  I'm convinced.

BUT.  My journey isn't over.  And I think 2017 is going to be a Very Good Year!

So, why am I so excited?

First of all, I have an incredibly talented, incredibly enthusiastic, incredibly incredible agent who SHARES MY BRAIN SPACE.  I swear she does.  It's like she's inside my stories with me, and her insight and editorial suggestions are downright spiffing.  I adore working with her.  For my latest work, she actually offered to read my outline before I even began the first draft.  I took her up on it, of course, and her suggestions led me to write an EVEN BETTER STORY once I sat down to do it.  She's been 100% on board with both of my current projects EVEN BEFORE THEIR FIRST DRAFTS WERE COMPLETE.  And now that they're both finished works, she continues to be completely invested.  She's my champion, my advocate, my cheerleader.  I'm more thankful for her than I can express without sounding like a chattering ninny, so I'll stop here.

Secondly, the work that we've been subbing this year has come back with glowing words of praise and excellent insight that's helping me take a fresh look at it to see what needs to be done as we continue to move forward.  I'm VERY EXCITED to continue to explore this story's possibilities, because I love it and believe in it and WANT TO SEE IT FLY.  (Danielle believes it will, so on my doubtful days, I just remember the amazing gal to whom I've entrusted my work.)

Thirdly, my newest work is standing on the starting line, and my entire body is twitching as I wait for that gun to go off.  I'm so excited about this one that my stomach goes hollow every time I think about it.  Four of my beta readers -- four! -- told me that they were in tears.  Not that I like making people cry, but when it comes to writing stories, I LIKE MAKING PEOPLE CRY.  (Actually, the whole thing blows me away.  For my words to evoke that depth of emotion is almost beyond comprehension.  It's as humbling as it is exhilarating.)

Look at this wonderful, handcrafted mug--another beloved Christmas present, this one from a fellow writer.  She ordered it for me because the dragon is wingless, like the ones in my current story.  It's not easy to find wingless dragons depicted on much of anything (unless you're looking at Chinese New Year decorations), so she was thrilled when she found this for me.  I LOVE IT SO MUCH.  (On a side note, she's one of the beta readers who cried, apparently through the entire last 14 pages of my novel.)

This mug is the EMBODIMENT of my passion for writing.  It's handmade (like a story), it's a gift from a fellow writer/adoring fan reader, and it's A REFLECTION OF MY LATEST NOVEL.  How can I feel anything but satisfied, energized, and absolutely geeked out when I curl my hands around it?

All this--ALL ALL ALL THIS--to say that ELEVEN YEARS AND I'M STILL PRESSING ON.  I love what I do--the writing AND the encouraging.  I don't plan on stopping either.

I'd like to thank each one of you for being part of my journey (and I'd also like to invite you to continue along for the ride).

I'd also like to thank the following (because it really does take a village to raise an author):

• Josh Getzler, for believing in me enough to take the plunge (with a novel we both still love)
• Gabrielle Harbowy, for interviewing me on her blog even before I was agented, and for being a bigger source of encouragement than she may realize
• Jodi Meadows, for taking me under her wing and pouring into me in ways no one else ever had
• Alison Weiss, for being an undying support of my blog, the now-defunct teen writer blog, aspiring authors at large, and me personally
• Peter Salomon, for being utterly solid and terribly supportive
• Adam Heine, for teaching me more about worldbuilding than should be humanly possible, and for making me laugh (a lot)
• Maggie Skye, for being my Biggest Supporter Ever, and an undying voice of encouragement
• Rena Rossner, for GETTING IT, and for spurring me on...and, truth be told, for loving my stuff enough to say she'd offer representation if she'd been reading as an agent
• Danielle Burby, whose praises I've already sung
• Mr. A, who won't let me quit, and who loves me in the midst of both angst and euphoria

I'm ready for the year.  I'm ready to dig in, press on, inch forward.  I'm ready to fully embrace the joy of writing, in all its ugliness and grit and constipated moments.  I'm ready to fly.

Get ready to unfurl your wings and fly with me.  We're in this together!

Do Your Dialogue A Favor

I have to say this -- and it's said in the spirit of wanting you to learn to write better.

Okay, here goes.

I have read SO MUCH REALLY-BAD DIALOGUE over the past few years, both as an editor and as a reader-of-contest-slush, that I sometimes want to throw a veritable tantrum.

One of the first things a writer needs to learn is to STOP BEING IN LOVE WITH HIS WORDS.  And, in my opinion, one of the places this in-love-with-my-words shows up most painfully is in character dialogue.

So here's what I want you to do (and what I tell my clients):

READ YOUR DIALOGUE OUT LOUD.

I've said this before (probably more than once), but it bears repeating, because I really see so much clunky, unbelievable dialogue.  Reading our dialogue out loud helps our EARS to discern whether or not something sounds natural.  Because, in real life, dialogue is aural, not visual.

Like, if you met someone on the subway and they talked like Yoda, you'd sort of notice right away, yes?

Yet you might be tempted, in the midst of your fantasy novel, to make Gregor the One-Handed say, "Perturbed I am that fallen has the city."

Seriously.  It happens.

Here are some examples (and things to avoid):

1.  TOO FORMAL

Because you're thinking about words too much, or you're trying too hard to make your character sound intelligent, you over-think and over-craft his dialogue, making him sound like he's reading from a textbook or giving a speech.   Often, you are FORGETTING TO USE CONTRACTIONS, which exacerbates the problem.

"I do not know what you mean," Goober said.  "I have been trying, to no avail, to reach you by phone or by email for approximately four days.  There is nothing more frustrating, in my opinion, than being accused of not communicating properly, when actually I have been doing my best all along."

Poor Goober.  He has a stick up his behind.

This is better:

"I don't know what you mean," Goober said.  "I've been trying to reach you for four days."

(No, really.  That's all you need here.)

2.  TOO MANY WORDS

People do not talk in gigantic chunks of text (unless they are stuck in a Dickens novel).  If your character's dialogue is more than a couple lines long (three at the most, unless the situation truly warrants a more verbose speech), he is SAYING TOO MUCH AT ONCE.  If he really does have a lot to say, break it up by interspersing reactions from other characters and beats (character actions).

"I got there right as they closed," Twiggy said.  "The woman had just flipped the sign over, and she saw me standing there.  I raised my eyebrows at her, but she pretended she didn't see me.  I mean, I get that.  It was time for her to go home.  But she made me feel less than human.  So I started banging on the window with both fists--just banging and banging, while she stood there staring at me like I was some sort of alien.  I never meant to break anything.  I never meant for the police to be involved.  It just got a little out of hand."

Oh, Twiggy.  No one wants to listen to you prattle on.

This is better:

"I got there right as they closed," Twiggy said.  "The woman had just flipped the sign over, and she saw me standing there.  I swear she saw me."

"Did you ask her to let you in?"  Maximus asked.

"I raised my eyebrows at her, but she pretended she didn't see me."  Twiggy crossed her arms and started pacing.  "I mean, I get that.  It was time for her to go home.  But she made me feel less than human."

"Oh, Twig."

"I started banging on the window with both fists, while she stood there staring at me like I was some sort of alien."  She sighed.  "I never meant to break anything.  I never meant for the police to be involved.  It just got a little...out of hand."

3.  TOO RAMBLY

Dialogue needs to have a clear purpose--it's either a) developing character relationships, or b) revealing information, or c) moving the plot forward.

And even if it's not doing a or b, then it DEFINITELY and ALWAYS needs to do c.  Otherwise, it's just blather.

Tip sat on the bench.  "What'd your mom pack for lunch?"

"Tuna fish and a bag of chips," Flip said.

"Tuna fish?  That's gross."

"Well, I like it."  Flip opened his lunch bag and pulled out a sandwich.

"That smells."

Flip frowned. "I didn't even open it yet."

"Well, I can smell it anyway."

"I've got ham and jelly," Tip said.

"And you think tuna's bad?"

"I've been eating ham and jelly since I was two," Tip said.  "My gramma used to always cook ham with pineapple on top, and then we'd have it for leftovers on bread.  Well, one day, there was ham leftover, but no pineapples.  So my mom smeared jelly on my sandwich.  Been eating it ever since."

Flip pulled open his bag of chips.  "Whatever.  Are you trying out for that play tomorrow?"

"Haven't decided."

"Mary Fulsen is trying out," Flip said.

"What do I care about Mary Fulsen?"

"She's been in two plays before, her brother used to be plays all the time before he moved up to high school."

"Well, I'm not going to try out just because she is," Tip said.

Flip opened his milk carton.  "They were out of chocolate milk again."

"I don't like chocolate milk."

"Strawberry milk is pretty good, though."

Tip made a gagging noise.  "That's even worse.  Milk isn't supposed to be brown or pink."

"Whatever."

"How's your tuna fish?"

"It's pretty good.  How's your ham and jelly?"

"It's pretty good, too."

(Hopefully you stopped reading before you got here.  Tip and Flip's entire scene needs to be deleted and rewritten.)

4.  TOO WEIRD

This is the kind of thing that tends to happen in science fiction or fantasy novels.  In an attempt to create an "otherwordly" effect, writers will sometimes overdo the weird, creating character dialogue that sounds like it came from the scrap pile on the editing floor of a B-movie.

Kuzani stared at the mage, her heart in knots.

"Precious and irreplaceable daughter of the Most High Governor, I salute you with a thousand bright stars."  The mage bowed, folding in half like a boneless snake.  "I am Cheezits'kan, First Mage of the Aboriginal Muckus."

"I'm honored."  She wasn't, really, but it seemed like the right thing to say.

Cheezits'kan stepped forward, his iridescent robes playing with the light.  "As the sun rises and sets over the hills of hither and yon, with each rising and setting easily predicted and never failing, so my confidence in you is longsuffering and ever-present."  He placed his finger on his nose.  "Hark!  And heed!  For many and sundry are the words I have to speak to you e're this night passes, and already my throat is nigh parched for lack of arcane liquid.  Come, let us partake of the fruit of the sacred vines, fermented and bottled in the ages before time.  Then, and only then, we will squeeze words from our lips."

If Kuzani had only stabbed him at "precious", we wouldn't have had to read that.

So I'm going to say this one more time:

READ YOUR DIALOGUE OUT LOUD.

Trust me when I tell you that your ear WILL let you know when something sounds off.  If your character says, "I will not be there," and you read it out loud, your ear will immediately say, "Well, huh.  It should be I WON'T BE THERE."

And so on.  LISTEN to the words you write.  It will start to make a difference in how you write them.

(Disclaimer:  I'm not saying that you have to sit down and read your entire novel out loud.  That's just...silly.  But spending some time on pertinent scenes of dialogue, and reading them out loud so that you can really listen to your characters conversing, will go a long way in improving the way you make your characters talk.)

All righty, then -- have at it!  And best of luck.  I truly want you to be able to produce the best that you are capable of.  Dialogue, ultimately, is FUN!  Spending a little time making it better will allow you to enjoy it so much more.  Your characters--and your readers--will thank you.

When Dreams Die

Ballet is a great love of mine, though not a great talent.  I didn't dance as a child (other than one semester-long stint when I was 6) or as a young adult (other than a requisite year of dance at college, as part of my music degree requirements).  For many reasons, all deeply personal, I fell in love many years later, all grown up and firmly entrenched in "stiff" and "not graceful".

After dancing once a week for a year or more, I came to the conclusion that, if I wanted to really progress, I would have to dance a heck of a lot more than that.  So I ramped up to three classes a week.  I set goals for myself.  I thought, okay, I have no desire (or ability) to dance professionally; this is just for me.  But I want to be the best I can possibly be, so I'm going to work hard.

And I did.  I still do.

But.

It'll be almost four years since I've begun my adult ballet adventure, and, well, it just isn't happening for me.

Four years, and I still can't do a decent single pirouette.  Four years, and I still don't look like a dancer.  Four years, and I still have an incredibly hard time learning new steps and putting combinations together.

Four years, and I'm nowhere near being able to start pointe classes.

Sometimes it frustrates me to tears.  And sometimes I rise above it, pull on my leotard, and dive in without thinking too hard about how bad I am at this.

My burning desire to truly succeed, though, has faded.  I've come to the gradual and heart-squeezing realization that dancing is not something I will ever do really well.  I actually hate this.  Hate admitting it.  Hate owning it.

Don't get me wrong--I'm not being self-deprecating here, and I'm not allowing momentary frustrations to defeat me.  I'm walking in the reality that I AM NOT MEANT TO BE A DANCER.

It might seem silly to you.  I mean, after all--who aspires to something like ballet when she's all grown up and WAY past the tender age when real dancers are born?  But it was never about wanting to be a "real dancer" (I don't).  It was about wanting to succeed as an adult dancer.  To be able to walk into an empty studio, turn on something from The Nutcracker, and dance my heart out.  Even if nobody saw me (especially then).  Even if I had to choose simpler steps, slower tempi.  Even if I were the only one who saw any value in what I was doing.

Even then.

But it's not happening.  And I don't see it happening.  Ever.  I'm getting older, not younger.  And I'll continue to go to my ballet classes, because...well, I love them.  So much.  But my ballet dream, which once burned so bright, has died.

In other words, reality hit.

And, yanno, for all these years that I've been blogging my heart to the writing world (I love you so), I've always said "Never give up!" and "Keep your eye on your dreams!" and "Keep writing! And writing and writing and writing!"

I'm not reneging on any of that.  You've got to keep going and you've got to keep writing, because it's in you, and you love it, and words crowd themselves into your brain every day until you have no choice but to spill them out.

But I finally have to admit that sometimes...sometimes...someone's out there writing their little heart out, and it's just never going to happen.  The passion is there, and the commitment, and the endless story ideas.  But regardless of how long he's been at it, there doesn't seem to be any forward movement.  He writes, but he doesn't excel.

And that doesn't mean STOP WRITING any more than my lack of ballet gifting means STOP DANCING.  It does mean, though, reexamining your goals.  It might be--it just might be--that your writing is like my ballet.  You are completely committed and absolutely in love with the idea of being a writer...but publication is not, after all, the path you should pursue.

This is a highly personal decision, and I would never presume to tell any writer what his goals should be.  If you write, then you are a writer, and you always will be.  You're never too young or too old to write.  I would never council anyone to quit writing.  But if you've been trying for fifteen years to get published, and you haven't been able to land an agent--or even to garner a full request or two--then it may be time to reset your expectations.

To write because you love it, and not because you are seeking to write professionally.  To lose yourself in the joy of your own creations without worrying, anymore, what the industry has to say about it.

Write for the sheer pleasure of writing, regardless of what is flowing out of your proverbial pen.

And then there's me.  I've got an (amazing) agent.  I've honed my craft and have received such glow-y comments from editors that I'm left scratching my head as to why they still say "no" to the book.

Unlike ballet, writing is something I do well.  I'm still growing (writers who stop growing should probably stop writing, yes?), and still honing.  But I am finally at a place where I'm confident in my ability to write a marketable book.

Yet here I sit.  Still waiting.

And if I'm perfectly, brutally, bare-my-soul honest, I've got to say that my dream has died.  I keep writing because it's what I do.  I've come this far, and I'm not going to just throw it all away.  My agent is excited!  Engaged!  And incredibly encouraging!  (She's incredible in so many ways--I should really showcase her here so you can all see how wonderful she is.)

I don't think I've ever experienced the level of enthusiasm and gut-level BELIEF IN ME that I get from Danielle.  And it definitely counts for a lot.  Every single day.

But my dreams?  They're yesterday.  I actually go days at a time without giving a second thought to the fact that we're on submission.  (This is a stark contrast to the way I used to HANG on the hope that today, today, today, today I'll hear something good!)  I just...write.  I work hard, I take it seriously.  I'm UTTERLY IN LOVE with my new WIP, and I'm pressing forward.

Dreamlessly.

In so many ways, this is easier.  Kind of like Data with his emotion chip turned off.  But in some ways, it's sad.  Writing without dreams feels like dancing without music.

Still.  We do what we can, and we do what we must.  I can't afford to dream anymore.  I just need to keep writing.  Because, unlike ballet, it's what I'm meant to do.

I really do believe that.

So wherever you are in your own journey, KEEP WRITING.  It's not the writing that needs to go!  But it may be something else.  A goal, an expectation.  A dream.  You can write without those things and still derive joy from what you're doing.

Always take the time to reevaluate, remembering to give yourself grace in the process.  Writing is hard.  The arts as a whole are hard!  But we who create have no choice but to keep doing so, regardless of where those creations ultimately lead us.

Take heart.  Keep writing.  And thank you for always, always, always offering me your support.  When my debut hits the shelves, you'd better believe that this wonderful MSFV community will be included on the acknowledgements page.

Oh, wait.  That sounded like a dream...

Use "Said" or Die

I'm going to say it in a loud voice:  SAID IS AN INVISIBLE WORD.  PLEASE USE IT.

If you're a seasoned writer, you already know this.  But if you're newer to the game, or haven't dived into the arena of feedback and critique partners yet, then you need to hear it.

I'm not sure who to blame here, but my theory is that the propensity to scramble for words to use instead of said comes from a combination of misguided creative writing teachers and an author's quest for originality.  To the teachers, I say, "STOP IT."  To the urge for originality, I say, "DON'T PRACTICE BEING ORIGINAL ON A WORD NOBODY IS SUPPOSED TO NOTICE."

I recently edited several chapters for a client who seemed to feel it was his duty to avoid said at all costs.  It's not his fault--clearly he learned this somewhere along the way (and I sincerely hope I have helped him to unlearn it).  Within only a few chapters, I found the following words-that-aren't-said:

replied

observed
enjoined
announced
admonished
restated
lamented
summoned (WTH?)
protested
directed
murmured
rejoined
exclaimed
stammered
enthused
recounted
questioned
retorted
ribbed
proclaimed

Those are all perfectly legitimate words, and some of them are rather juicy.  But words like this should be used sparingly or not at all, depending on your genre.  When I see words like this in a manuscript, my brain immediately screams, "Thesaurus Abuser!"  And it's probably true.  Thing is, we don't need to waste time coming up with substitutes for said, because WE DON'T NEED TO CALL ATTENTION TO THIS WORD AT ALL.

"But, Authoress!  Sometimes I really do need a word other than said!"

Of course you do.  And here are some that you can use with impunity:

ASK  (because characters do ask questions sometimes)

WHISPER  (if your character is truly whispering, then it's obviously okay to say so)

YELL/SHOUT (but again, only occasionally--it's much more effective to SHOW us that your character is yelling by the words he is speaking, rather than TELLING us)

The rest?  Use them the way you would use ghost peppers in your homemade chili.

As for the trusty Thesaurus?  DON'T USE IT TO LOOK FOR REPLACEMENTS FOR THE WORD SAID.  Not ever.  If you're thinking that hard about a dialogue tag, you're putting your energy into the wrong thing.

Just. Use. Said.

"The end", she piped merrily.

From Beth Revis: Awesome Writing Workshop Retreat

Dear ones!  This is a fabulous opportunity (and I adore Beth Revis).  I can tell you from personal experience that Beth is FABULOUS and really knows her stuff.  Read on!  Read on!

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Hi guys! Beth Revis here. I'm a long time MSFV reader--in fact, I was a reader far before I was published, and entering one of the critique contests here helped me to revise the book that became Across the Universe, my debut novel and the story that changed everything. I'm now the author of five published novels and three nonfiction books on writing, publishing, and marketing. Today, I'm talking with Cristin Terrill, author of All Our Yesterdays and the founder of the Wordsmith Writers Workshops, to tell you about the program. Make sure you read all the way to the bottom, because we have a special discount code just for MSFV readers!

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BETH: Before I was published, I attended every workshop, conference, and critique session I could. I tackled them with the same rigor as an MFA student, filling up notebooks with scribbles, digesting every critique with cold analysis, studying pamphlets and books with much more dedication than I did with textbooks when I got my degree. About a week or so after my first book was published, I attended a writer's retreat. Initially I was shaking. I was such a newbie, and the ladies on the retreat all seemed to be more knowledgable, more experienced, more everything. Despite my intimidation, what I found was that the writing community is a close-knit group that cares about each other's success. There was solid writing time, but what was even more important was the discussion. I remember, very distinctly, wishing that I had had something like this before I was published--a writing retreat with people who'd been there and done it before--along with all those conferences and workshops I'd done.

CRISTIN: Luckily, that’s exactly what I had. About four months before I got my agent, I attended a workshop/retreat for aspiring young adult authors in Yorkshire, and it was a major turning point for me. Along with twelve other writers who I grew immensely close with over the course of the week, I got to spend time learning from famed historical YA author Celia Rees and one of my personal favorites Patrick Ness (who has continued to be supportive of me and my career to this day despite how I accidentally stalked him on that train that one time). Giving myself that time to focus on my writing and to surround myself with other people who had the same aspirations and struggles I did was one of the best things I ever did for myself or for my career. With Wordsmith I wanted to recreate the best aspects of that experience by mixing the social and productive benefits of a retreat with the learning, networking, and critique you get from a conference or workshop. Beth was an ideal partner, because she’s extraordinarily savvy about storytelling and the industry and can diagnose the problem hanging up a manuscript almost instantly AND she’s a ton of fun to hang out with and makes everyone around her feel at ease. Together I think we’ve created a long weekend that’s a finely-calibrated mixture of critique time with published authors and each other, lessons and insider secrets from authors and agents, and plenty of quiet time for writing, brainstorming, talking through a problem, or just blowing off some steam. With killer comfort food served all day!

Read more about the workshop program here

BETH: OH MY GOSH THE FOOD. That was such a huge thing for me. I've been on retreats where the attendees take different chores and do the cooking, cleaning, etc. And that can be fun, but it also takes away from the focus. I find myself this way at home...four o'clock rolls around and I start thinking, "What's for dinner? Do I have all the ingredients? When should I put the dinosaur chicken nuggets in the oven to time them perfectly with the tater tots?" But with the Wordsmith retreats, that's just not a concern. Four o'clock rolls around and I start smelling delicious things, but I keep working and then when I'm done, there's delicious food put in front of me. WIN WIN WIN.

See a sample menu here 

But aside from the food, haha, I think my favorite part of the Wordsmith Workshops is the critique sessions. I've done paid critiques before, usually at conferences. And they're helpful, but they're also short. Typically, paid critique sessions at conventions are for 5-10 pages of a manuscript, which is obviously a small amount. And the ones you pay for online tend to be longer--but lack the in-person back and forth. Our critiques are a longer sample; we really get an idea of what the book actually is and can be. We read prior to the workshop, and then make notes for the attendees to take home. But the really great part is the private sessions where we individually discuss the work with the author. That back-and-forth discussion was invaluable. In some cases, we replotted the whole novel, right there at the table. In others, we helped refine the rough edges and got it query-ready. I'm just so inspired by how those sessions went!

CRISTIN: I loved the critique sessions, too, and the fact that we were all together for five days meant that we had the chance to follow up on the critiques and keep working with writers on the issues we’d identified. A couple of writers made major changes to their books after their critiques and we were able to work with them throughout the long weekend coming up with and refining new ideas so that they left with a solid plan for how to rewrite. It was so much more satisfying and useful to the writers than the usual kind of professional critique, which is basically a hit-and-run where they tell you what’s wrong and then leave you to figure out how to fix it on your own. Likewise, we dedicated the teaching portion of one of our days to writing and workshopping queries, which is a skill that pays endless dividends when you master it, even after you have an agent. I love knowing that when writers leave us, they each take with them a killer query letter that will catch agents’ eyes in addition to the more intangible rewards of the retreat. At our spring retreat, we’re making a new addition to our offerings that I’m really excited about, which is a visit by NYT-bestselling author Jennifer L. Armentrout. She’s going to come hang out and write with us one day, which will give all of us (Beth and myself included!) the chance to pick her brain about how she manages to write so many books and what she’s learned from being a successful hybrid author. In addition to being incredibly knowledgable, Jennifer is also one of the friendliest, most generous, and fun authors I know, and I'm looking forward to kicking her ass at ping-pong!

Read more about the authors here

BETH: Hah! While you're ping-pong-ing (best word ever), I'll be in the corner, working on my new manuscript. Because while we have such a packed program--critique sessions, one-on-ones, workshops, tasty meals--we also built in plenty of time to just quietly write (or sneak off for games)...which is good for me, because it looks like I'll be facing another deadline there! I hope I channel some of our past participants, who got 5k words in a single day! Talking about the Wordsmith Workshop Retreats really fills me with such eagerness--I can't wait for spring to get here! Writing can be such a solitary endeavor, but it's programs like this that remind me how great the writing community can be.

Sign up for this spring's workshop retreat here  

We'd both like to thank MSFV for hosting us today, and we hope to see some of you at a Wordsmith Workshop Writing Retreat!  The next program is March 30 - April 3, and will be located in Warrenton, VA. Fees are all inclusive--one programming fee covers all food and lodging, all workshops, and two critique sessions by both Cristin and Beth, as well as some extra goodies that we have planned just for you guys. To thank MSFV for hosting us, we have two discount codes to offer to you, her readers! You can choose between using code snowday to get a 20% off discount on a double room, or you can use code msfv-rocks! to get a 10% off discount on a bunk room. Both codes are valid while supplies last. Space is very limited, so sign up today!