Where Normal Need Not Apply
Last week, we talked about how we can add diversity to our stories in a respectful way, and no matter what kind of story we write, we’re probably going to need to research something. Whether we’re referring to an aspect of diversity, a setting, or a character’s job, we can’t know everything about everything.
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The real world is filled with diversity, and our stories should be the same way. There’s no “one right way” to portray diverse characters, but there are wrong ways to portray diversity. However, there are steps we can take to minimize—as much as possible—the potential of “getting it wrong.”
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I started visiting the original The Bookshelf Muse website by Angela Ackerman and Becca Puglisi soon after they started it, and it’s been fantastic to see their vision grow. So I’m thrilled to welcome Angela here today, as she’s going to share writing-related goodies with us.
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My regular readers know that I’m a pantser, but I’m naturally a planner/plotter in the rest of my life. So when a reader asked me how to build a scene list from a beat sheet, I didn’t shudder and scream in horror. Instead for my plotter-loving friends and readers, I figured I’d put together a real answer.
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For many writers, the point of writing is to connect with others through our words. Because of that desire, it’s hard to ignore feedback, and during editing, we don’t want to ignore suggestions. But what about after we publish? Should we read reviews of our published work?
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An interesting conversation grew out of Misti Wolanski’s guest post earlier this week. She mentioned that sometimes readers enjoy finding typos. Let’s take a closer look at what that means for readers and for us as authors? Should we leave typos in our work? What say you…
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Many writers write both fiction and non-fiction (even if the latter is just blog posts), but the two types of writing require different skills—from authors and from editors. The better we understand the differences, the better we can follow the right rules at the right time and the better we can judge whether an editor is skilled in the right areas to be a good editor for us.
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Some authors are able to write coherent stories while drafting. Others put together words willy-nilly and end up with a story that doesn’t hold together. And still others plot but are just writing their chaos down in advance. For all, a strong sense of story structure would help them during planning, drafting, and/or revisions.
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When we end up with a “dud” of bad writing from a book we’ve purchased, what should we do? Should we treat it as a learning experience or just close the book? My answer has changed over the years, so let’s take a closer look at when we might want to slog through bad writing to try to learn what not to do—and when we wouldn’t.
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Revisions are never easy. Unlike just plain edits, which might have us questioning a word, revisions might have us questioning everything. Sometimes the feedback we receive might cause us to wonder if the suggestions are a good idea for our story. How can we tell? Which battles should we pick when debating our publisher’s editor?
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