Tag Archive for: writing

donalee Moulton

Polishing prose so it sparkles

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by donalee Moulton
 

We’ve been talking about the editing process. We started at 30,000 feet looking at the big picture. Now we’re on terra firma.

In my book The Thong Principle: Saying What You Mean and Meaning What You Say, I discuss the various types of editing – and why they are all essential. For many of us, editing is synonymous with copyediting.

Copyediting is like minor surgery. The impact can be significant, but structural changes and in-depth revisions are not necessary (or have already been done).  This type of editing, the most common for most of what we write, involves editing a document for style, flow, and clarity. It also requires ensuring a consistent tone and pacing. Publishers often call it line editing.

Editors Canada offers the following overview for stylistic editing, or line editing. For many writers, this is what they’re doing when they are copyediting. Ultimately, it doesn’t matter what we call it as long as we do it.

Stylistic Editing

Editing to clarify meaning, ensure coherence and flow, and refine the language.

It includes:

– eliminating jargon, clichés, and euphemisms
– establishing or maintaining the language level appropriate for the intended audience, medium, and purpose
– adjusting the length and structure of sentences and paragraphs
– establishing or maintaining tone, mood, style, and authorial voice or level of formality

What’s A Copyeditor To Do

Here are six areas of focus to help ensure your writing resonates with your audience and achieves your purpose.  When you look closely at these elements, you sharpen the writing and the plot. Readers are more likely to be carried along by your words. There will be no head scratching and no rereading to make the meaning is clear.

Check for:

1. CLARITY
Look to see if you are using:
– Long sentences that could confuse readers
– Big words readers could stumble over
– Uncommon words that will furrow their brows
– A tone that distracts or conflicts with the content

Bottom line: Make sure the meaning of what you write can’t be misinterpreted.

2. TRANSITIONS
– Between sentences
– Between paragraphs
– Movement in time, place, subject

Transitions aren’t usually complex. They flow naturally moving readers through prose with short, everyday words like “however,” “so,” and “then.”

3. CONCRETENESS
– Facts and figures
– Specific language
– Action verbs
– Active voice

Readers want us to paint a picture for them – one they can see and one they can believe in.

4. REPETITIVENESS
– Are specific ideas repeated unnecessarily?
– Are words used more than once in sentences? In paragraphs?

Tip: Avoid summarizing. Readers don’t require it, and it slows them down.

5. COMPLETENESS
– Are the 5Ws and how answered?
– Are there any unanswered questions when there shouldn’t be?

Have you emphasized the most important question: Why?

6. FLOW
– Does the content make sense
– Do the words move smoothly

Find out for yourself.  Read your writing out loud.

Would love to hear about your editing challenges — and successes.

IYKYK (If You Know You Know)

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As authors, the written word is our trade. We strive for authenticity in the way characters talk, the language they use, and the methods used to communicate. Dialog differentiates the speakers, but how to make a teenager sound like, well, a teenager rather than their grandparents? A judicious use of slang can establish a character’s identity, often revealing their social status and education.

What is slang anyway and why does it work? The dictionary defines slang as: “a language peculiar to a particular group, an informal nonstandard vocabulary composed typically of coinages, arbitrarily changed words, and extravagant, forced, or facetious figures of speech.”

Consider these two dialog snippets from Ready Player One, a 2011 science fiction novel by Ernest Cline:

Example 1:

“Great outfit, slick,” he said. “Where did you snag the sweet threads?”

Example 2:

“…what do you have to do to get your hands on all this moolah? Well, hold your horses, kids.”

Without much thought, you can tell the first is from a young person (actually an avatar) by the idioms and slang used. Likewise, you know right away the speaker in Example 2 is a much older person by the use of ‘moolah’ and ‘hold your horses’ — expressions common in past decades.

Historically, spoken language evolves faster than its formal written counterpart. The rise of the internet, social media, and texting has birthed a new language that is written, full of a multitude of unpronounceable expressions.

Which brings me to my conundrum. My characters are often on cellphones, texting each other. How should I use slang to individualize their texts? I’m not even clear on how to represent this dialog. In different fonts? Bolded? Indented? And how do you tag the different speakers in a back-and-forth conversation? My go-to edition of the Chicago Manual of Style has deserted me on this topic, making no formal recommendation. And, shudder, what slang do my characters use when texting?

Internet slang is a non-standard language used to communicate using symbols (emojis) and shorthand acronyms on gaming platforms, phones, chat groups, and social media. Examples most of us know are IYKYK (if you know you know), LOL (laughing out loud), and LMK (let me know). Others are more specialized to particular groups. Try GG (good game) for gamers, API (application programming interface) for software developers, or DOMS (delayed onset muscle soreness) for fitness groups.

Others are more arcane. How about the sarcastic GPOY (gratuitous pictures of yourself) or 403 (deny access to). My favorite example is PWNED (owned). This linguistic abomination apocryphally arose from a game developer’s misspelling of ‘owned’. I leave the pronunciation to your imagination.

Faster than the spoken language, internet slang is evolving and changing almost daily. Herein lies one of the dangers. The shorthand slang idioms used on one social media platform, say Reddit, differ from those in common usage on X or BlueSky.

That’s not to say that some of these acronyms haven’t wormed their way into everyday English, such as FOMO (fear of missing out). English, the opportunistic and omnivorous language it is, has adopted SNAFU, AWOL, and MIA among others. However, there is no predicting which acronyms will appear in the next edition of the Oxford Dictionary of the English Language or be relegated to the dustbin of archaic cliches. Using what is in favor today may, at best, only sound dated or most likely be cringe-worthy tomorrow.

You might ask why have my characters text at all. A phone call or F2F (face to face) would avoid these problems. First, today everyone is glued to their phones, even conversing over texts while at the same dinner table. Second, I use texting as a technique to create anticipation or suspense. Unlike a phone call or a conversation, a response to a text can be delayed, maybe not even seen for a conveniently inconvenient period of time. Finally, a character can carry on a text conversation while witnessing or participating in exciting action.

So, where does that leave my characters? For now, their texts will be pronounceable. They will contain punctuation. I will treat internet slang as a foreign language, using an expression only if the meaning is clear from the context. What do you think?

IIGHT (alright, okay?)

Writers Without Borders

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Of the many reasons I love living in Colorado, the Jaipur Literature Festival is one of them. Wait a minute. Jaipur? Isn’t that in India? And they have a literature festival? Yes, they do. Known simply as JLF, it’s the world’s largest, un-ticketed event free to all, no matter how rich or poor.

 

The motto of the festival is “Stories Unite Us.” Geographically, Boulder, Colorado is 7,825 miles from Jaipur, but each year JLF brings the city a wealth of international writers, humanitarians, business people, artists, and philosophers. Boulder is one of five locations in the U.S. to host the event, much more convenient for me to participate in this feast of ideas.

This year, JLF Colorado in Boulder was awash in brightly colored banners and saris. Vibrant music and tantalizing smells of Indian food filled the air along with animated discourse. Among the speakers were local authors David Heska Wanbli Weiden and Margaret Coel discussing the crossroads of crime—a topic near and dear to my writing.

 

 

I was fortunate to attend a talk by the famed writer and JLF founder Namita Gokhale. A journalist and award-winning author, she recalled growing up in the mountains in India with her grandmother, who believed a tablespoon of brandy was the cure to all illness. Many of her works dealt with how a culture’s mythology defines behavior. When asked what was a writer’s responsibility, she replied, “A writer’s responsibility is to be irresponsible.”

A simple statement, which at first, struck me as an oxymoron. However, the more I consider her viewpoint, the more I agree. As writers, we need to challenge our strongly held cultural myths, to take risks, to shake our own convictions. That is the true power that all art wields.

For more information on JLF, please see https://jlflitfest.org.

What Kind of Writer Am I?

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by Paula Gail Benson

I’ve heard about plotters and pantsers. In Bird by Bird, Anne Lamott commends E.L. Doctorow’s advice that writing is like driving a car and only being able to see as far as your headlights, yet having the ability to complete the trip with that view.

Plotters create a road map. Pantsers have an idea of where they are going and find the path as they take it.

I’m trying to figure out what to call my writing style.

For my latest short story, I started with an idea: what if (I’m a big advocate of “what if” questions—I heard Mary Higgins Clark liked to start that way)—so, what if a former step-father gets a visit from his adult former step-daughter on Father’s Day? She’s terrified because she thinks she might have killed her husband. She goes to her former step-father because he’s the only man she truly trusts.

To help her, the former step-father goes to see if the husband needs medical help. He finds the husband bruised, but alert and with the step-daughter’s biological father. The husband and biological father are concerned the step-daughter has resumed company with those who supported her addiction. Previously, while the step-daughter received treatment for addiction, her mother served as conservator for the step-daughter’s funds. The biological father suggests he’s ready to establish a new conservatorship, with him in charge of the money.

Who should the step-father believe—his step-daughter or her husband and biological father? What should he do?

At this point, I’m not sure where the story is going, only that the step-daughter has confessed to hitting her husband with a candlestick her mother gave her as a wedding gift and that the husband and biological father are determined to control the step-daughter.

The step-father takes a long route home, figuring the biological father might have him tailed. He sees evidence of someone following him. The step-daughter doesn’t answer the phone and when he gets home, he finds she’s gone. With reluctance, he calls his ex-wife and learns she did not support her daughter’s marriage. He goes to visit the ex-wife, who gives him some potential leads for locating the daughter. Notice, the ex-wife is depending upon him to do the legwork, just as she did during the marriage.

As I’ve followed this meandering trail, I’ve figured out more about the characters I’ve met and made myself hone-in on why the husband and biological father are intent on finding the step-daughter. I’ve made myself focus on the premise of the story and the theme it will convey.

Each day, I’ve written my way forward in a notebook, setting out the steps and leaving room to fill in the details as I type up my notes. I see places to make connections and endeavor to add seamlessly to the story.

When I started, I wasn’t sure about the end. Now I have an inkling of what that might be, but it’s still subject to change.

Am I a combination, plotter and pantser—plantser? The hand-written notes seem like a form of plotting, but in fact, I’m just following where the characters lead me. What happens next? Set up the scene and I’ll sketch it out as you (the characters) live it.

Recently, listening to a talk by best-selling romantic comedy author Katherine Center (her latest novel is The Rom-Commers), a member of the audience asked if the characters spoke to her. Center replied no, but the characters let her watch as they took their journey.

I think I may resemble that remark. What do you think? Am I depending upon the headlights in a vehicle driven by my characters?

Figures of Speech

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Figures of Speech

by Saralyn Richard

An English major in college, I was required to take courses in Chaucer/medieval lit, Shakespeare, Milton, 18th and 19th century literature, and American literature, among others. Of these, the dreaded subject was Milton, mainly because the brilliant poet and author of Paradise Lost took full advantage of the vast body of history, philosophy, religion, politics, and literary criticism of the day, and analyzing and interpreting even a few lines of his work could send a person down a rabbit hole for eons.

I had read excerpts from Milton’s works in high school, and I’d found them dry and uninteresting, but when I arrived in my Milton class junior year in college, I had a whole different experience. Call it an awakening, a challenge, a puzzle—whatever—I delighted in the intrigue and purpose of Milton’s language, and I couldn’t get enough.

After the semester, I decided to continue studying Milton by undertaking two semesters of work, researching and writing an honor’s thesis. My focus of study was figures of speech.

Most people understand the function of figurative language and can identify and explain similes, metaphors, personifications, and analogies. Few, however, realize that these represented only a miniscule number of the figures of speech available for Milton and other writers of the Elizabethan and Puritan eras.

I could write treatises—or an honors thesis—about what I learned from books, such as George Puttenham’s The Arte of English Poesie, or Henry Peacham’s The Compleat Gentleman, but for this blogpost, I’ll say that I was astounded by the more than 456 figures of speech used by Renaissance writers of poetry and prose.

The literary devices included repetitions, inversions, comparisons, and rhetorical devices to tickle the ear and tempt the mind. Some of the more obscure, but popular, figures of speech were anastrophe, litotes, and anadiplosis.

Once I learned about them, I had fun hunting for them in Milton’s verse. Each find unlocked a bit of the magic that made Milton’s writing so memorable.

Fast forward to the 21st century, and I was teaching creative writing to students aged 55 and older at the Osher Lifelong Learning Institute. I introduced a unit in figures of speech, and we dug into definitions and examples of a variety of the lesser-used devices. I challenged learners to use some, like synecdoche and metonymy in their writing, and the results were amazing.

Also, when I read a work of fiction by an author like Poe, Tartt, Kingsolver, or Irving, and I find a turn of phrase that is particularly appealing, I love to deconstruct the language. Do you do the same? What is your favorite figure of speech, and which author do you think is especially adept at using figurative language?

Saralyn Richard writes award-winning humor- and romance-tinged mysteries that pull back the curtain on people in settings as diverse as elite country manor houses and disadvantaged urban high schools. Her works include the Detective Parrott mystery series, two standalone mysteries, a children’s book, and various short stories published in anthologies. She also edited the nonfiction book, Burn Survivors. An active member of International Thriller Writers and Mystery Writers of America, Saralyn teaches creative writing and literature. Her favorite thing about being an author is interacting with readers like you. If you would like to subscribe to Saralyn’s monthly newsletter and receive information, giveaways, opportunities, surveys, freebies, and more, sign up at https://saralynrichard.com.

 

NEVER GET DISCOURAGED

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Great to be a new member of the Stiletto Gang, the most talented writers I’ve come across in a group, probably ever. As an introduction, I’ll lay out the highlights of my literary journey below.

 

In 1962, my mother registered me for a writing class that was offered in summer school after the eighth grade. Only one other girl signed up, so the class was cancelled.

 

Once in high school, we were assigned a short story. I wasn’t present the day the teacher handed them back—I’d gone to the orthodontist—but when I returned to school, kids congratulated me on my story, saying the teacher read it to the class. The next day when she returned my story, I found she’d give it a B-.

 

My parents told me I couldn’t be a writer because I wouldn’t be able to make a living. I don’t know whether that is what would have happened. You never know what the future holds. But, I was an obedient child, at least for a while, so I said ok.

 

I didn’t know what else I might want to do. Dad wanted my sister and me to be teachers, so if our husbands died or abandoned us, we’d be able to support ourselves. My sister did and ended up as an administrator in a small public school district. Me? I dropped in and out of five colleges/universities until I was finally awarded a B.S. degree in Criminal Justice.

 

I once signed up, as an adult, for a writing class at the community college in our town, excited to finally get something going. When I received my first story back, the instructor had written that I had no talent—give it up.

 

After I began practicing law, I was lying around my living room once night and told my husband that if a writer could make $5,000 a pop for genre romance novels as it stated in the TV Guide article I read, I should try that. I read everything, including romances. I didn’t think it looked that hard. So, I bought some books on writing romances and sent for tip sheets and finally wrote one. I sent it off and waited for a response. The editor said no, she wouldn’t publish my novel, her rejection including some choice insults, and never to send her anything again.

 

I began writing suspense/mysteries in the 80s. My father was a criminal defense lawyer, (and later a judge), so I’d been around the law since I was little. I had been a probation officer and was at that time a criminal and family lawyer. Crime, I knew about. By the way, I heard that not long after the aforementioned editor rejected my novel, she died. Just so you know, I didn’t kill her.

 

When my editor at St. Martin’s Press, Inc. called me about MY FIRST MURDER, (my first published novel) he excitedly asked where I learned to write like that. He loved the book and said my manuscript was one of the best submissions he’d ever seen in terms of preparation, punctuation, etc. He loved it so much, a year later he rejected the sequel.

 

Enough of that. My point is, never give up. I had that first novel sale in 1988. I used the book as a political tool when I was running for office, donating copies across the county. What a great gimmick! I received free publicity and extra attention at every event, in addition to speaking engagements.

 

I was elected to the bench and took office on 1/1/91. My focus turned to being a sitting judge, modernizing practices and procedures in that court, including starting programs to help families and children. I continued to write whenever I could, though I didn’t have any other books published until after I left the bench at the end of 2002. In 2004, Eakin Press (a Texas publisher) released my nonfiction books: Heart of Divorce (which I wrote to help pro se litigants who couldn’t afford lawyers to prosecute their own divorces) and Murdered Judges of the 20th Century, which I researched and wrote over the previous six years, (and which began as evidence for the county commissioners that we needed courthouse security).

 

After that, I started submitting works I’d written while on the bench. I wanted to change my focus from the law to liberal arts. In 2015, I made the decision to self-publish. Though by then I had several mystery/suspense novels under my belt, I had grown tired of the traditional publishing process. I was aging out. The last straw was when an agent told me to cut my manuscript 20,000 words and submit it to her. I did, and never heard from her. That was it.

 

At sixty-five years of age, I was sick of the abuse most authors suffer at the hands of agents and editors. I was writing because I have to, not because I needed to. Or, as I often phrase it, I can’t not write. There was no joy, no pleasure in experiencing what they were dishing out. Where I had hoped for years to have the guidance and support of an agent and/or editor, I realized that would never happen. I have stories to tell. I’m constantly learning craft. I don’t care if I ever have huge sales. I’m having fun doing what I’ve wanted to do since I was a little girl with no pressure, no insults, no rejection. I love it.

 

Now, at 74, I spend a lot of my days writing or reading. I’m having fun living life my way. I never gave up. I suggest if you love to write, don’t let anyone discourage you either.

Susan has published 14 books in the last 30 or so years. Not all of them are mystery/suspense, but all of them have something to do with the law.

Clicking Our Heels – Killing Our Darlings

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At some time, every writer has to kill his/her darlings. Here’s how different members of The Stiletto Gang deal with this onerous task.

Dru Ann Love – Luckily, I don’t have to deal with that, but as a reader, I’m not a happy camper when a main protagonist or favorite secondary character is killed. I’ve been known to stop reading a series because of that.

Debra H. Goldstein – Moaning, groaning, cursing, and almost crying, I kill my darlings. The only good thing is that the end they meet is swift.

Saralyn Richard – Killing my darlings (as in characters) is one of the biggest challenges I have in writing. Most of the time, my victims are characters I love dearly. (After all, I’ve created them to be exactly the way I want them.) One of my books, written in third person close POV, takes the POV character through some exceptionally rough times. I identified so closely with her that I felt every slap and sting. I kept telling myself that she would get through this–and so would I.

Donnell Ann Bell – I  don’t ever throw anything completely out. Call me a pacifist, but I have a draft file, where I simply imprison unused material. You never know when my muse might say, “Remember a certain passage? It might fit here.”

Robin Hillyer-Miles – Years of working as a civilian graphic designer for the US Navy helped me kill darlings left and right without a care in the world. (Though I do save them in a separate file, just in case.)

Gay Yellen – Sadly, I’ve had to toss two entire subplots in the upcoming book after I realized they weren’t serving the main story.

Barbara Eikmeier – I put them in a document file labeled “cut scenes” so I can visit them whenever I want.

Kathryn Lane – It’s still painful to kill scenes, characters, etc. but I’m getting better about it. I try to think about moving the story forward and that makes me realize (sometimes) when a favorite scene/topic/dialogue/character is not needed.

Anita Carter –

Lois Winston – I’m ruthless. If something isn’t working and can’t be fixed—whether a plot point, a character, dialog, or a scene—I cut it. If I think it might have potential in another book at some point, I’ll save it to a folder of orphaned words. Often, though, I simply hit the DELETE key. I’ve killed many a darling over the years and will probably kill many more in the years to come.

Lynn McPherson – That’s a toughie. I remind myself the goal is to have the best story I can write, so if that means someone has to go, I try to remember they served their purpose and got the story to where it is now.

Linda Rodriguez – I have a file on my computer that’s just called CUTS. I toss any cut paragraphs or scenes or chapters into this file, so they’re saved for later if I need them. I’ve never needed them for that same work, although I have sometimes rescued scenes or characters from the CUTS file to use in a different project.

Mary Lee Ashford – In general, I don’t have a problem with killing my darlings. If it’s not working, it’s got to go. However, there have been scenes that I’ve saved to an “Outtakes” folder on my computer because I knew they needed to be cut, but I really like them and thought they might have a use later on in the story. Or I thought that they could perhaps be reworked and be used in a later book. Over the years, I’ve found that those “darlings” are seldom useable, but it still makes me feel better to set them aside in a folder than kill them off completely.

T.K. Thorne – I deal with it by saving what I have and starting another version. That way, I can always go back to that “darling” and use it or pull from it.  I never do, but it’s there with gives me a sense of security. 🙂  In every case, so far, I have liked the fresh version better.

Anita Carter – I’m brutal. I don’t struggle with the delete button. LOL But when I throw out a scene or a fun sentence, I paste it into a “deleted stuff” Word document.

Bethany Maines – That is so hard!  I do save my deleted scenes in separate documents.  Sometimes I can work them in later, but sometimes that’s just what I tell myself so that I’ll actually delete them. But sometimes, the story changes and I have to pursue what is best for my story.  I do think that the more I write, the more callous I become to this problem. I think partially because I’ve become more of a plotter so that I write fewer scenes that require deletion.

Shari Randall/Meri Allen – Killing my darlings kills me! I work with an excellent editor, and time and again, I’ve seen that her suggestions to kill those darlings have made the story better. I’m philosophical about it now, but still, it hurts.

Work Life Balance

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Work Life Balance

by Saralyn Richard

Photo by Thought Catalog on Unsplash

 

I was recently asked in a video interview what my work-life balance looked like. I had to laugh. I’m sorry to say I’ve never perfected work-life balance, and I’ve never really tried. While I’m a perfectionist in many things, anything that requires me to pay attention to time is a lost cause.

As a disclaimer, writing, for me, is not actually work. Being a writer is a long-deferred dream come true, so now that I have dedicated myself to telling stories, the work is joyous. When I’m working, I give my all to my work. If I’m writing a scene, I am lost in the zone of that scene so thoroughly that I don’t notice where I am or what time it is in the real world. This quirk has gotten me into many difficulties when I start writing close to times of appointments, meetings, or social engagements. I have to restrain myself from sitting down to work within an hour of any of the above.

The same is true when I’m spending time with friends or family. I give my full attention to them and strive to cherish every moment. Having been deprived of social interactions for so long, due to the pandemic, I appreciate in-person get-togethers more than ever. I don’t check my phone for messages or daydream about possible plot twists. I don’t lurk on the fringes; I jump into the middle with my whole heart.  I listen, I share, I laugh, I cry. I try to emulate my sheepdog Nana, who gives herself over to her people, completely.

If work and life end up being balanced, that’s a happy coincidence. So how about you? I’d love to hear how you address work-life balance.

Saralyn Richard is an educator and author of five award-winning mystery novels and a children’s book. Visit her at http://saralynrichard.com and sign up for her monthly newsletter.

The Arts Are For Everyone!

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The Arts Are For Everyone! by Linda Rodriguez

A few years ago, I was giving writing workshops at a local high school on the wrong side of the tracks. These kids had already been through lots of trauma and stress, though they were only in their teens. These particular twenty kids, however, fell in love with writing, and it offered them a way to deal with broken families, broken hearts, and broken promises. They learned that on their own without me.

I was there to show them that writing can offer them even more. It wasn’t easy at first. Some of them started out prickly. It’s natural when life’s been a hostile environment to be always on guard. It took patience, but we got past that, and they wrote some phenomenal poems.

In the last workshop I had the joy of telling them that their work would be published in an anthology of Kansas City student writing and that they would give a public reading at The Writers Place, the city’s stand-alone center for writers and literature. They were pretty excited. This was a kind of validation that they almost never get. And since the poems to be published were from a workshop we did around identity and specific imagery, it was a special kind of validation. They opened their hearts on the page about the good and bad things in their families and their lives, and society said, “You are great just as you are!”

Out of the school population of 348, these twenty kids are winners. They may not be the only ones, of course, and they may not all go on to college. However, they have learned to use language to help themselves through tough times. They have learned to use language to form images of who they are and where they want to go, and that’s a prize of incomparable worth.

 

Linda Rodriguez’s 13th book, Unpapered: Writers Consider Native American Identity and Cultural Belonging, was published in May 2023. She also edited Woven Voices: 3 Generations of Puertorriqueña Poets Look at Their American Lives, The World Is One Place: Native American Poets Visit the Middle East, The Fish That Got Away: The Sixth Guppy Anthology, Fishy Business: The Fifth Guppy Anthology, and other anthologies.

Dark Sister: Poems was a finalist for the Oklahoma Book Award. Her three earlier Skeet Bannion mystery novels—Every Hidden Fear, Every Broken Trust, Every Last Secret—and earlier books of poetry—Skin Hunger and Heart’s Migration—received critical recognition and awards, such as St. Martin’s Press/Malice Domestic Best First Novel, International Latino Book Award, Latina Book Club Best Book of 2014, Midwest Voices & Visions, Elvira Cordero Cisneros Award, Thorpe Menn Award, and Ragdale and Macondo fellowships. She also published Plotting the Character-Driven Novel, based on her popular workshop.  Her short story, “The Good Neighbor,” published in Kansas City Noir, was optioned for film.

Rodriguez is past chair of the AWP Indigenous Writer’s Caucus, past president of Border Crimes chapter of Sisters in Crime, founding board member of Latino Writers Collective and The Writers Place, and a member of International Thriller Writers, Native Writers Circle of the Americas, Wordcraft Circle of Native American Writers and Storytellers, and Kansas City Cherokee Community. Learn more about her at http://lindarodriguezwrites.blogspot.com or follow her on Twitter at https://twitter.com/rodriguez_linda  or on Mastodon at https://mastodon.social/rodriguez_linda.

When One Thing Leads to Another by Judy Penz Sheluk

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I’m delighted to welcome Judy Penz Sheluk as my guest to talk about her new release: Finding Your Path to Publication: A Step-by-Step Guide. Because I’ve loved her two fiction series: The Glass Dolphin mysteries and the Marketville mysteries, I know this will be a valuable non-fiction tool for writers. See you next month!  —Debra H. Goldstein

When One Thing Leads to Another by Judy Penz Sheluk

I’m new at this. Oh, I don’t mean I’m new to blogging. I’ve been writing a blog for my own website for years, and I was a Stiletto Gang member for a time until life got in the way (thankfully, they invite me back every now and again, for which I am grateful).

I don’t even mean that I’m new to shameless self-promotion, though it never seems to get any easier (I can always hear my mother saying, “never forget where you came from,” “where” in our world being a very humble place).

What I do mean is that I’m not used to blogging about a how-to book. It’s not like I can be cutesy and write this from a character’s point of view or get all authorly and talk about the narrative arc. Hmmm…maybe I can talk about how one thing led to another.

Okay, that’s settled. It all started when I led a NaNoWriMo debriefing in November 2021 at my then-local library. I’ve attempted NaNoWriMo a few times but have never yet completed the 50,000-words-in-a-month challenge. The librarian thought that made me more accessible. I’d tried and “failed,” and yet I was a published author.

What I learned from that event was that the attendees were more interested in how-to get published and publishing options than whether I (or anyone else) had succeeded at NaNoWriMo. That led to the librarian asking if I might be willing to prepare a presentation on the topic. I remembered how much I’d learned since signing my first book contract in 2014, and not all those lessons came easy. In fact, some of them were downright painful.

The presentation—Paving Your Path to Publication—had record attendance, with more questions than time to respond. It also gave me an idea. What if I wrote a book based on it? I’m a total pantser when it comes to writing mystery fiction, but here, at least, I’d have an outline.

After months of research (I knew virtually nothing about social publishing platforms like Wattpad or Hybrid/Assisted publishers, and was surprised at how much I still had to learn about traditional and self-publishing platforms) and vetting every chapter with my front-line editor (also an aspiring author from a very different generation than mine), the result is Finding Your Path to Publication: A Step-by-Step Guide, which released on May 2 in trade paperback, large print, hardcover, and e-book. It’s the sort of book I wish I’d had back when I was starting out, but then again, I wouldn’t be where I am today without experiencing the highs and low of my journey as an author.

After all, one thing almost always leads to another. And I wouldn’t have it any other way.

Readers: Have you experienced “one thing leading to another” in your life? If so, how’d that work out for you?

 

About Finding Your Path to Publication: The road to publishing is paved with good intentions…and horror stories of authors who had to learn the hard way.

For the emerging author, the publishing world can be overwhelming. You’ve written the book, and you’re ready to share it with the world, but don’t know where to start. Traditional, independent press, hybrid, self-publishing, and online social platforms—all are valid publishing paths. The question is, which one is right for you?

Finding Your Path to Publication is an introduction to an industry that remains a mystery to those on the outside. Learn how each publishing option works, what to expect from the process start to finish, how to identify red flags, and avoid common pitfalls. With statistics, examples, and helpful resources compiled by an industry insider who’s been down a few of these paths, this is your roadmap to decide which path you’d like to explore, and where to begin your author journey.

Available in trade paperback, large print, hardcover, and e-book. Universal buy link: https://books2read.com/FindingYourPathtoPublication

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A former journalist and magazine editor, Judy Penz Sheluk is the bestselling author of two mystery series: The Glass Dolphin Mysteries and Marketville Mysteries, both of which have been published in multiple languages. Her short crime fiction appears in several collections, including the Superior Shores Anthologies, which she also edited. Judy is a member of the Independent Book Publishers Association, Sisters in Crime, International Thriller Writers, the Short Mystery Fiction Society, and Crime Writers of Canada, where she served on the Board of Directors for five years, the final two as Chair. She lives in Northern Ontario. Find her at www.judypenzsheluk.com.