Tag Archive for: writing advice

Valuable Writing Advice from Other Writers – Heather Weidner

Debra here:  I’m a big believer in learning from others — here’s an example of writing advice that another writer, Heather Weidner, believes has helped her career.  I’ll be back next month!  

Valuable
Writing Advice from Other Writers – Heather Weidner



Thank you so much for letting me visit. I’m Heather
Weidner, and I write the Delanie Fitzgerald mysteries, Secret Lives and Private Eyes, The
Tulip Shirt Murders,
and Glitter, Glam, and Contraband. I’m so
excited about the third book in the Delanie Fitzgerald series. In this one, my
sassy private investigator is hired to find out who is stealing from the talent
at a local drag show. Delanie gets more than she bargains for and a few makeup
tips in the process. She also uses her skills to track down missing reptiles
and uncover hidden valuables from a 100-year-old crime with a Poe connection.


I have been writing for a while and a
published author since 2014, and I have found that writing is often a lonely
endeavor. I treasure my writer friends who are so generous with their time and
advice. I am extremely grateful for all the authors who have shared their
ideas, advice, and successes with me through the years. It is so helpful as you
begin or move along your writing journey. Here are some key items that I’ve
learned.


When I’m working
on a new novel, I plot out a simple outline. I learned from Donna Andrews to
color-code the different kinds of action in your outline, so you can see it
over the course of the book. For example, I mark all romantic elements with
pink, humorous items are orange, clues are green, etc.

I learned from
Mary Burton to keep a running list of over-used words. Add to it as you write,
and then at the end of each revision cycle, search your document and remove the
culprits. She also calls your first draft the “sloppy copy.” This isn’t “the
end” of your project. It’s the beginning of the revision cycle.

I learned from the
late Kathy Mix to keep a list of character names for each book. Her rule was to
name each character with a different letter of the alphabet. If she already had
a Krissy, then she couldn’t have another character whose first name started
with a “K.” I build a chart of characters for my books in a series. I create a
column for each book and update where the characters appear. I also create a
list of key locations. I enter all the important facts, so I can keep track of
the details.

Mary Miley gave me
some great advice about honing dialogue. She recommends cutting out the
unnecessary pleasantries and chitchat that don’t move your story forward.

Elaine Viets said
to know your genre and who is publishing in it. Do your research and know the
conventions.

Lynda Bishop, my
long-term editor, recommends that authors keep a timeline for each book to make
sure all events are in order and make sense. This helps with pacing.

In one of her
talks, Tina Glasneck told the group to create a calendar for each book launch.
Mine starts three months before the launch and runs three months after. Plan
all events, interviews, blogs, and media campaigns.

Jane Friedman
tells writers that their platform grows from their body of work. An author’s
website and blog should be at the center of this. Also, the website and blog
should be on the same site.

Frances Aylor and
Alan Orloff gave me the best advice for writing. Butt glue (Frances) or BICFOK
(Alan). They’re essentially the same. If you want to be a writer, put your Backside
in the Chair and Fingers on the Keyboard.

And my advice to
writers is to cultivate your relationships with other writers. Join writer or
critique groups. Build your network, share in their celebrations, and share
writing and publication information that helps everyone learn and grow.
 

Author
Biography



Glitter,
Glam, and Contraband

is Heather Weidner’s third novel in the Delanie Fitzgerald series. Her

short
stories appear in the Virginia is for
Mysteries
series, 50 Shades of
Cabernet
, and Deadly Southern Charm.
Her novellas appear in The Mutt Mysteries series. She is a member of Sisters in
Crime – Central Virginia, Guppies, International Thriller Writers, and James
River Writers.

Originally from Virginia Beach,
Heather has been a mystery fan since Scooby-Doo and Nancy Drew. She lives in
Central Virginia with her husband and a pair of Jack Russell terriers.

Heather earned her BA in English from
Virginia Wesleyan University and her MA in American literature from the
University of Richmond. Through the years, she has been a cop’s kid, technical
writer, editor, college professor, software tester, and IT manager. 

Synopsis of Glitter, Glam, and Contraband



Glitter,
Glam, and Contraband
features
a strong female sleuth with a knack for getting herself in and out of humorous
situations like helping sleezy strip club owner, Chaz Smith on his quest to
become Richmond’s next mayor, tracking down missing reptiles, and uncovering
hidden valuables from a 100-year-old crime with a Poe connection.


Contact
Information

Amazon
Authors: http://www.amazon.com/-/e/B00HOYR0MQ

Book
Links



Series and Standalones

Series or Standalone? 
By Cathy Perkins

Hitting
today’s Frustration Meter – getting to the end of what you thought was a really
great standalone novel and stumbling onto the words “END OF BOOK
ONE.”  

(Yes, First World Problem.)


Worse yet – ugh – a serial novel.

Or the flip side – you reach the end of a story, and the ending is so
perfect… 


…or
you’re like a food addict and someone just took away your cake. 

“How am I
supposed to live without these characters? What
happens next? How could the author be so cruel?



Which begs the questions: Series or Standalone?



Probably the single biggest advantage to a series is if you like the characters, you can get more of their
story. After a while it becomes comfortable, like hanging out with friends.  I know
these people! I like them – what’s happening?
Over
the course of the series, the characters can change, hopefully improving for
the better, over a more realistic, longer period. As a reader, it’s easier to commit
time and money if the book in a series. If you like the first one, you figure
you’ll like the next one in the series, rather than chancing another random book, even
another book by the same author.
The down side is, if each book in the series doesn’t have a
complete and satisfying story arc of its own, you may feel you’re left hanging
while waiting for the next book.
Books aren’t like TV shows. You
don’t get the next episode a week later. Also,
depending
on the overall story arc of the series, there may be significant threads left
unresolved. This can bother a reader who has to wait for the next book.
Writing a series means every installment has
to be as good as or better than the last. No rehashing of a theme. No cookie
cutter plots. No formulas. Readers deserve to feel their appetite for the adventure was satisfied, and they can’t wait for the next in the series.
Another challenge is
backstory. Can the reader pick up a book in the middle of the series and get
enough backstory for it to make sense? Or do they have to start with book one?
How much backstory does the author include in subsequent books without boring
the dedicated series fan or confusing the mid-series pick-up reader?
Finally, what if a series goes too long?
What if the protagonist keeps falling into the same old danger time after time?
This can result in the B word: boring. You don’t want to go there.
The advantage of writing a standalone is
trying new ideas or themes without the confines of your established setting and
characters. Your readers can discover a new side of your talent. A standalone
for a series author is like an experimental science lab. Just don’t blow up the
place and go so far over the line that your fans don’t recognize you.
What do you think? 
Do you prefer reading
or writing a series or standalones?

Cathy Perkins
After
publishing three standalone novels, I’m easing into the series idea. DOUBLE
DOWN (presale available here) features several of the characters from So About the Money (JC speaks! He
finally gets a point of view!) with events right after “book one”
ends. 
I’m working away on Book Two, so hopefully readers will jump on board
with this new story and series.

Keep in touch at my website or sign up for my newsletter.

Learning to Let Go

by J.M. Phillippe

A writer friend of mine told me that being in your 20s is all about unbridled optimism that anything can happen, while being in your 30s is about figuring out your limitations, and what really is possible. Limitations are hard, she said. But it makes life so much easier when you just accept who you really are instead of constantly banging your head against your own weaknesses, hoping they’ll stop existing.

When I was younger, I had all these visions about what my life was going to look like, and what the future was going to hold for me. I was sold on my own potential, something adults had assured me I had plenty of for most of my life, but I also found it paralyzing. I could do anything. I could do anything. And that meant I had to pick and choose and apparently be very very good at it or else I would be wasting all that potential.

Things in my life did  not go as planned. In fact, they keep not going as planned. I have spent a lot of time trying to fit myself into spaces where I just don’t fit, and even if I managed to force my way in, being in them would make me constantly uncomfortable, and completely inauthentic. And why? Because of some worry that I was failing to live up to something as ill-defined as potential?

I was talking about feeling stuck, overwhelmed by the potential of my story. “Over determination is the enemy,” my friend reminded me. She told me to stop trying to force it, to move back toward writing as play. It was almost shocking advice. I have spent a long time trying to embrace writing as work. Somewhere along the way I forgot that it is also supposed to be fun.

And that life is supposed to be fun — or at least not miserable. If I was working on not forcing things in my greater life, why would I then be willing to force things in my writing? I had to let go.

It’s scary to let go. It’s scary to abandon plans — or to at least pull back on the details. It’s scary to imagine that at best you can aim for a certain direction and see what happens. As in life, so it is in writing. All the outlining in the world won’t actually take your story where it needs to go.

More importantly, worrying about living up to the potential of a story — or of a life — is a great way to squander said potential. No one person can do ALL the things in life. The therapist part of me of course knows this, but the writer part of me often forgets it. The story will come when it comes, and how it will come, and it won’t be forced.

So that’s where I am these days — trying to learn the art of letting go. My hope is that my letting go this idea of unrealized potential I can start to better focus on what already is, what I am already good at, and what I already know. I can stop living in the shadow of what could be, and enjoy the light of what actually is.

I think I’d rather be in the light.

***

J.M. Phillippe is the author of Perfect Likeness and the short story The Sight. She has lived in the deserts of California, the suburbs of Seattle, and the mad rush of New York City. She works as a family therapist in Brooklyn, New York and spends her free-time decorating her tiny apartment to her cat Oscar Wilde’s liking, drinking cider at her favorite British-style pub, and training to be the next Karate Kid, one wax-on at a time.