Indie Publishing: From Your Dream to Your Hands (Part One)

Hey there!

Kara Swanson, here. Welcome to my blog series on independently publishing. Here, I'll talk about my personal experiences like I actually know what I’m doing J

I first indie published at seventeen, and am taking the plunge again for an urban fantasy/sci-fi novella called The Girl Who Could See (learn about it on Goodreads here) that releases in June.

As I grow and gain a little more knowledge about the vast ocean that is indie publishing, I’ll be sharing with you! So stay tuned.

I’m calling this series Indie Publishing: From Your Dreams to Your Hands for a very specific reason. People who independently publish their work are just that—dreamers. Those who are serious enough to learn the tangled web of formatting, cover design and CreateSpace. Those who have a story to tell, and have decided this is the best way for them to do it. Those who are willing to reach for the stars, even if that may take hours of long, hard dedication to being author, editor and publisher.

I’ve thrown around the word “indie (independent) publishing” several times already, and I’d like to explain briefly what that really is. There are two basic types of publishing in this industry. Some other options cross over, but these are the two most well-known:

Traditional Publishing

Independent Publishing

Traditional publishing has been around for…well…ever. It’s the one most people think of when they hear the word ‘publishing’. A traditional house will contract an author (after a very difficult submission/screening process that I can’t get into here) and then find editors, a cover designer, formatter, the best way to market and distribute the book, etc. They will essentially make your life easier, and pay you for writing and gaining an audience through book signings and any media. That’s the very, very basic version.

With Indie publishing, you become the publishing house. It is up to you to find editors, a cover designer, to format your book, to distribute it, to publish through various venues (generally Amazon Kindle/CreateSpace) and then market it. You must find an audience of people who will want to buy your book when it finally is available. You will have to get it into bookstores, libraries etc.

Seems like a lot of work, right? So, why go indie if a traditional house will do much of that for you?

There are many reasons people choose indie, here are a few:

• Many want to retain all the control over the process they can, so that the book that ends up on bookshelves is the story they set out to tell.

• For others, it’s their best option, as their stories fit outside the realm of what traditional publishers generally publish. (That’s one of the reasons why I’m doing my novella by myself, as it's too short/strange for most publishers. )

• Some authors thrive by putting out their novel themselves, retaining far higher royalties, and already sitting on a large platform of readers.

So, there you have it! A basic explanation of what indie publishing is and why it might just be the perfect fit for you.

Okay, so you’ve chosen indie publishing…what next? Stay tuned for the second post in this series, as I walk you through the various aspects of indie publishing starting with the art of refining your craft as an author.

Are you considering indie publishing? Have you ever independently published your own novel? Was this post of any help to you? 

'Till next time, 

Kara

Everything Counts

I'm writing this post because I just finished a book.

Good enough reason to to write a post, don't you think?

Actually, any time I finish a book, I'm either inspired, or horrified that certain things made it past an editor's scrutiny.

So! In light of these interesting thoughts of mine, I want to share a quote with you. I stumbled across it on Pinterest of all things, but it's poignant.

Make every sentence, every chapter, every thought and every character fight for their existence. 

Needless to say, the book I just finished was very slow.

But THINK about it. Really. Whenever you read a book that starts off slow, or throws in characters you don't care about, or tells you something irrelevant - you either finish the story out of pure stubborn committal, skip to the good part, or put the book away. It's frustrating.

So how do we fix this in our own writing?

It comes down to tension, I think.

Tension is what keeps your reader awake at 3 AM with a flashlight trying to get to a stopping point (but there is none). It's the panic induced speed reading because you are so concerned for the character's well being or success that you can't even pick up the details - hence a need for a second reading now that you know how it ends.

But knowing what tension looks like and creating it are two separate things. For some writers, it can be a serious struggle.

Here's a few things to try...

1. PLOT IT OUT

 Whether you are a Panster or a Plotter, this is a crucial skill to have down. While Plotters might be a bit more detailed in their story mapping, Pansters can learn a thing or two to improve tension. There is no room for meandering in a tension filled story. Meandering leads to rabbit trails and useless scenes (harsh, but you know it's true).

So, without cramping your panster style too much, write down some major plot points throughout your story. Make sure you get a good grip on how each point leads to another. This will help you stay on course as you write. No irrelevant plot points. EVERYTHING must add to the central story. Even subplots. 

2. CLIFFHANGERS

Whatever you do, leave things unresolved. Regardless of whether or not you write mysteries, each chapter ought to be like a clue that drives your character forward. BUT, your story cannot officially resolve until the end of the book. It's a bit like a trail of candy that leads to a gingerbread house. The candy is enticing, but it's building up to the real deal. Each chapter adds something to story - reveals a secret - that pulls the reader in. However...ALWAYS, always, always, leave something unknown. Keep your characters stubborn in that way.

 If there is still a stone left unturned, your reader will always have a reason to keep going. They want to see your character divulge their dirty little secret at the worst possible moment.  So leave off your chapters with more to be revealed.

 3. CHECK YOUR MINOR CHARACTERS

We all love a good minor character. If you get to know them well enough, they can often prove to be a springboard for a sequel. HOWEVER. Do not let your minor characters steal the show from your main characters. Sometimes we as writers brush this off as a subplot that adds to the tension - all will be revealed in due time. BUT. Be careful. Your subplots may be skipped over because your reader cares more about your main character. 

 Your minor characters ought to have just as much personality and life as your main character, but they don't get to have their own story, not yet anyways. Unless their story is consistently feeding into the MC's story, it adds nothing to the plot of THIS story. 

4. PACING... PACING... PACING

 Ask yourself, did I start my novel in the right place? If you didn't, your opening chapter will throw the pacing of your story completely out of whack. I can only say this because I've done it.

Sometimes, we start back a little too far because it's tempting to really get into the back story. Back Story, however, can be great material for tension. Where it would otherwise drag out the beginning, you can treat your back story like a big secret and slowly reveal it as it becomes relevant. 

General rule of thumb, there should be no boring chapters. Traveling, sitting, sleeping and chit chat are all stumbling blocks for good pacing. 

Now, I know this is going to hurt... but I beg of you to read through your manuscript and check your plot. Make sure every sentence, every scene, every character drives the plot in some way. If they don't, it's time to say goodbye. Save it for another story where is WILL matter. Have someone else read it. Get an outsider's opinion. 

We all want to write the next great novel.
 
 

How to Fix the Sagging Middle

We all run into this problem at some point or another.

You start off writing this amazing story. Your beginning is beautiful. You love your characters. And you know exactly where you want the story to wind up in the end. But somehow, in the middle of it all, you get a little lost along the way. You write that scene - it's fascinating to you, the setting of it and the way your characters interact and react, but it has no real relevance to the plot. It breaks your heart to admit it. Those scenes are the answer to all of the "what ifs" you ponder.

But they're the reason for what you might call, "a saggy middle."

The beginning is great.

The ending is perfect.

But the middle just sucks...

And how on earth do you fix that? How do you get where you want to go with a story without getting lost along the way? Plotters are so much better at this than Seat-of-the-pantsers. Still, it's an important question. As a Panster myself, I'm going to share someone else's advice with you:

I took a workshop on this at a writer's conference and the speaker suggested an idea. You probably think the answer to this lies in the hero's journey - somewhere along the way, you forgot a few steps. But what about this:

Have you ever tried writing your story from the middle?

Picture your character in a moment of adversity - not quite the black moment. But a moment where their good intentions are in question and they're wondering, "How on earth did I wind up here?"

"How did I get here?"

Hopefully you know how to get from this moment to your black moment. First, it gets hard, then their friends rally around them, they come up with a plan, they execute, all hope seems lost, then your character does something they couldn't have done when the story starts out (a lesson learned). The day is saved and happy ending commences.

All right, now we work backwards.

From the moment of, "How did I get here," work back. Ask yourself what kind of person your character has to be to find themselves in the situation. How did they get out of their comfort zone? What went wrong? What was their intent? This will bring you to your, "Day everything changed," The moment that set them on their journey.

There. No more saggy middle.

I'm sure you all have your ways of fixing a saggy middle. But this is mine. And if you think about it, it's probably the way you came up with your story to begin with. We all ask the question, "What would happen if a character who ________ faced _________?"

And that, my friends, is actually the middle.

The Who's Who of Voice

Dialogue is the foundation of expressing a character's thoughts and opinions. It can show the ways that they interact with other characters, or even give the reader a sense of where the character comes from based on their grammar. Each character's dialogue is unique and differs from the others characters. Ideally... their speech should be so unique to them, that a "he said" or "she said" is not necessary.

But how can you do this? Seems a bit... hard, right? Well, think about the last REALLY good book you read. Maybe one of the characters had a bad childhood experience and is hesitant to speak about themselves too personally. This could be key in that character's dialogue. This character will be a dodger, someone who only talks about other people and things that won't require them to give anything about themselves away. This makes your character different from another character who feels free to talk about say... their dog or their grandma or what food they like.

What about a character who comes from the slums (exaggerating here). This character will have poor grammar and limited vocabulary. They won't use words that you might find a college professor using. On the contrary, a character who comes from a very educated background will be better able to express themselves using good grammar and vast vocabulary. (stereotypical example) Someone from Texas will use words like, "ya'll," a Mainer will drop their r's and someone from West Virginia will say the "wash" as "warsh." Vocabulary and grammar are very simple ways to make them distinct.

But THINK about it. A character who has anger or lying issues will also speak differently. An angry character will jump to conclusion and accuse others regularly. They might also be the King or Queen of interjections. A lying character will say things that don't always make sense with the other character's opinions and statements. On the other hand, if say... a dog... is speaking, the dog will discuss things like food and being petted, toys or rawhide bones. A teenaged girl will prefer to talk about her boyfriend who offended her the other day, or whether or not she likes the shirt she's wearing.

So here's something to try...

1. write out a conversation in which two or more characters are having an argument, but don't use "He said" or "she said" to tell them apart. No beats either (short action phrases, aka "Connor wiped the sweat from his forehead.") Just dialogue. 
2. Read the conversation out loud and listen to see if you can hear your characters' distinct voices. 
3. This done, now add some "he saids" and "she saids" 
4. Read it again.
5. Now you can add some "color" to the conversation: add some beats now. Make your characters DO things. Throw chairs against the walls if they need to. 
6. Read it out loud again. I hope you're proud of the dialogue you've just created =) 

Remember, no two people are alike, even twins. When you create dialogue, we don't want a dry comments about the weather unless the character really is a dry person. Make your characters colorful and unique.

Happy writing =)

The Solitary Writer--and Why It Shouldn't Exist

The Ultimate Love Story

Writing a book or a story is the beginning of a beautiful relationship between you and your imaginary characters. Don’t even try to resist the urges to laugh at your funny one-liners, cry when your favorite character dies, or obsessively hate your villain. And don’t be too embarrassed if you accidentally call your best friend the name of your main character. But keep these things to yourself, because your family will think you are nuts.

Writing wasn’t always this way for me. My name is Esther. I’ve been writing fiction since I was six or seven—not that that writing was anything I am proud of. At thirteen, I wrote my first REAL book. It was short—a children’s book about a young girl with a crazy grandma who drives a rocket ship. It’s the first piece of writing I’m not wholeheartedly ashamed of, because it’s technically pretty clean.

I started going to Mount Hermon’s writing conference that year, and I got some great editing. But I wasn’t in love with my writing. It was nothing more than a hobby—almost seemed like school to me at times. There were times my mom forced me to go to the computer. I had this unrealistic dream that I was going to get that book published. I went to Mt. Hermon twice. No interest from anyone.

Last year after Mt. Hermon, I had this new idea for a book. As soon as I started writing it, I felt something change. What was it? I fell in love with writing. It just sort of happened—I didn’t try. I found myself waking up before school at ridiculously early times to write a scene. I would goof off during school work dreaming up what would happen next. When I was supposed to be online finding scholarships for college, I would be—you guessed it—writing. And my focus turned from trying to get published for money sake, to just writing because I loved it and couldn’t stop.

I still want to be published, believe me. I’ll be going to Mt. Hermon again in two years to try. But even if I don’t, I won’t stop, because writing is a part of me, and I’m never letting go. I hope that this can be of some inspiration to you.

Esther

Mirror, Mirror

Have you ever seen a movie in which the acting is terrible? The lines seem forced and unreal, the actor’s tones and facial expressions are either too cheesy and cliché or not dramatic at all, and you go away from the movie theater wishing you didn’t waste ten bucks on the ticket. Believe it or not, books can be the same way.

We’ve all read books in which we read something (a phrase, an action beat, even the whole plot) that was unrealistic or poorly written. It leaves us thinking, “No way would a person in real life say/do that.” And when a character in a book is unreal, readers don’t get a chance to bond with him or her. And that’s what the main objective in a book is, isn’t it? I don’t know about you, but if the character is unreal, says ridiculous things, and “giggles” out her words every four sentences (really, how many times do you “giggle” while you talk?!), chances are, I’ll put the book down, because I can’t connect with her.

So, what is one of the things you can do to keep from making this error in your own book or story? Mirror, mirror! I got this idea from Christine Tangvald, a wonderful and enthusiastic writer and writing teacher from Mt. Hermon. I had her edit some of my children’s book, and she suggested that I take my work into the bathroom and act out a scene in a mirror. Before long, I was giggling myself because of the ludicrous and highly cliché things that I had put in my manuscript. By doing this, I was able to fix a lot of things and make them truer to every day life. And yes, there were times where I realized I had to spice things up a bit. It also gives some great ideas for those action beats (character’s actions that go before a quote) in which you can’t figure out what to say. Instead of saying, “She/He scratched his/her head” several times, you will be able to come up with things that have to do with the plot. Things come naturally in the mirror.

So, print out your work, head to the place in your house with the largest mirror, and act away. First, though, I would highly recommend you do it when family is not around (that’s another story).

Esther Seim

What Is A "Comp Title" and Do I Have One?

One of the first things to do when you finish a manuscript, is craft a query letter (if you want to publish, that is). But either way, even in your crafting stage... as you brainstorm your book, there's this little thing called a "Comp Title" you ought to keep in mind. It's slang for "Comparative." What is your book similar too?

If you consider your own reading habits, you'll probably see a trend. For example, readers of Kiera Cass's "The Selection Series," likely prefer books that involve contests, love triangles, dystopian societies and not too much gore.

Think about it like categories or tags... ways to label a book.

One of my favorite books is "The Rose Legacy" by Kristen Heitzmann. It takes place during the late gold rush, it's a Christian Romance, there's an arranged marriage, and a lot of historical detail. Of course, there are other categories, but I don't want to give any spoilers. But, to the point, many of the books I enjoy reading are similar.

Today I saw an advertisement on Penguin Teen for a Dystopian novel. "Readers of Kiera Cass's Selection will love The Glittering Court," it read.

That's a Comp Title.

At the same time, while readers enjoy reader books with similar content, they don't want to read the same story twice - that, and you can get accused of plagiarism.

So, ask yourself this question: If you are worried your manuscript is too similar to another published title - one of your comp titles - then think about what sets your book apart. What's your unique spin on the story?

A good example of this is retellings.

One of the most popular retellings is probably Gail Carson Levine's "Ella Enchanted." Which is in essence a spin on the story of Cinderella, but it's not Cinderella.

Well, how?

For all intents and purposes, Ella's mother died, her father is absent and she has a stepmother and stepsisters who treat her horribly. She also has a fairy-godmother.

BUT... Ella is under a curse. She and the prince meet before the ball and become friends. To a certain extent, she saves herself. And there's also a "Lord of the Rings" sort of element with the creation of cultures and languages such as Ogerese, Ayorthian, and Gnomic.

This is a marketing issue. More and more, authors are playing a bigger role in how their books are advertised. These days, authors are traveling - speaking and doing book signings - they have a face and a personality. A platform. Your potential publisher wants to know, "Where do I put this book on a bookshelf?" That's right... who's name is next to yours at Barnes and Noble?

So, who are you? What is your book like? What what will attract your reader?

What are your comp titles? Yes, you need them.

The Way You Move

Every scene has something we in the writing world call "balance," and at its essence, scenes are composed of beats, narration, and dialogue. If a scene lacks any one of these things, most readers are left disappointed. Scenes that are purely composed of dialogue are confusing. Scenes that lack dialogue are "introverted." And Scenes that lack beats (action) don't go anywhere.

Some other time, I'll talk about narration and dialogue. But what I really want to get at this moment, is beats.

beat: a sentence before, after, or breaking up dialogue that describes a character's response or action.

Often, action coincides with dialogue. For example, after saying something, or hearing something, a character will have a physical reaction. However, many writers will have their characters move just for the sake of moving. In order to tell a good story, we have to be intentional about everything.

So, as our characters move throughout each scene, we ought to be setting the goal of being believable and purposeful.

THREE RULES OF THUMB

1. do a mirror check

Have you just finished writing a scene? Great. Congratulations. Now, do me a favor and go into your bathroom, or even your bedroom (if you have a mirror there). Stand in front of your mirror and act out the scene you just wrote. Close the door if it makes you feel more comfortable. 

I heard about this trick at a writers' conference a year or two ago. Sometimes, we write about our characters doing things like putting their hands to their cheeks and gasping when they're shocked. Or hugging their bellies when they laugh. But honestly, have you ever done either of those actions in your own life? Is is realistic or hyperbolic? Check your characters' actions by trying it out for yourself. 

Perhaps, if your character is nervous, you might give them a twitch, like nail biting, scratching, or adjusting their clothes. What do you do when you're nervous?

2. law of follow-through

It goes without saying that if you pick up an object, you must put it down or use it at some point. Or if someone follows you somewhere, eventually, you will part ways (unless, perhaps, you have been hand-cuffed together, but even then, at some point the lock has to be broken or unlocked). 

Every action must have a follow through. 

I once read a scene where the MC was walked to class by her boyfriend, but then, as far as the text suggested, he never left. The author left him hanging. 

Or, for another example, one author wrote about a character who picked up a cup of tea, but never set it down. Did the character take it with her when she left the room? Did she ever drink from it? I'm not sure. 

Remember what was said before about being purposeful. If you are attempting to show an everyday, normal action, make sure your MC behaves accordingly and doesn't carry their toothbrush with them everywhere. 

3. ask why

Back to that cup of tea. Here's something to think about: does your character even like tea? Maybe your MC is only a social tea-totaler. Or did they spend a summer in Europe where the coffee is terrible and fell in love with Earl Grey somewhere along the way? Is your MC even thirsty? Is he/she tired and needs caffeine? Or maybe you're working on a story set in Victorian England or the American colonies where it was the social custom to accept whatever the host/hostess put before you. 

As writers, often we get a little confused when writing a scene. Sometimes, all we have to offer is dialogue. Two characters really need to talk about something, so one goes to the other's house and they talk in the kitchen. But what on earth is there for them to do besides shout a little bit and maybe kick a chair? Let's just face facts, we run out of ideas on occasion. 

When we run out of ideas, there's a tendency to insert action just for the sake of action so the scene gets a little more interesting. And so, one character will proceed to wash the dishes and the other will eat an apple that is sitting on the countertop. Really? Those actions, in no way, in and of themselves will drive the scene, or the plot for that matter, forward. 

Unless... 

what if a plate gets broken and interrupts their conversation, so they both bend over to pick up the broken pieces. Instead, they bump heads, or one cuts a hand on the glass and it forces them to work together, when they were previously upset about something. 

See how that changes things?

Ask yourself WHY your character is doing something. If the action doesn't serve a purpose, change it. Make it purposeful. 

SOME OTHER TIPS:

Consider this...

• Symbolism: does the action/movement have a bigger part in the story? Does it represent an inner conflict?
• Mystery/Clues: if the character fiddles with an object, does that object suggest anything? Will it come up again later?

10 Tips on Writing Historical Fiction

I remember when I first started writing historical fiction. It's a challenge, a fascination and a journey all wrapped into one. And let's face it - we are the kings and queens of the google bunny trail and we love every second of it. But there is such a thing as GOOD historical fiction and BAD historical fiction.

I'd like to hope that what I write is straight from heaven and written in gold dust, but truthfully, there's a lot of editorial. I've been at this for about six or seven years now and so, I'm hoping, with this blog post, I can pass on some of the tips and tricks to crafting a story grounded in the past.

First off: what is the goal? Well, I'd like to think that we're all aiming for something that's historically accurate AND interesting to read. It's a tough balance, but here we go...

1. Google is your best friend

Sort of. I'd say that about seventy-five percent of my research comes from things I've googled. Blog posts, state historic park websites, articles, images, and my personal favorite, google books. But that other twenty-five percent is those glorious, hard-copy non-fiction books. Images of America books are fantastic. I have one for the county I've set my current manuscript in and I've found all kinds of neat pictures and fun facts on local history. I use those books to do a lot of my world-building. Another favorite of mine, are local paperback history books and pamphlets. 

Things to search: period clothing, common food, common names, etiquette, transportation, city maps, languages and accents, cultural traditions, etc. 

Things to be wary of: realize that anyone can post anything on the internet. The links that pop up in your google search are not the absolute authority on everything. Be sure to check your facts or else those history buffs will come knocking down your door. I once heard author Sarah Sundin (she writes some fantastic WWII romance) say that an actual WWII pilot contacted her after reading one of her books to correct some of her facts. On the upside, he helped her fact-check her next book. But the point remains, CHECK YOUR SOURCES.

2. Beware of Bunny Trails

If we're honest, most of us are total history buffs and we can get completely lost in our research, venturing so far down the bunny trail that what is currently in your search bar has nothing to do with what you actually needed to learn for the scene you're writing. So remember to stay on task. 

SOMETIMES bunny trails can be great resources for new plot lines. I've definitely used something I never even thought about until I stumbled onto it during a google search. But nevertheless, bunny trails can be dangerous time consumers. Stay focused.

3. Different Time, Different Taste

One thing that drives readers nuts is when a historical novel feels contemporary. Never forget that time=change and the social customs of then are not the social customs of now. Even language changes. The phrase, "OK" (also spelled "okay") is not historically accurate for anything set prior to the world wars. "OK" as an acronym referring to the military term "Zero Killed." So it doesn't make any sense whatsoever for a victorian character to say, "I'm okay." Rather, they would be far more likely to say, "I'm all right," or "I'm fine." 

And food. This drives me nuts. In the Little House on the Prairie TV show, the children are fed PB&J sandwiches. Now, PB&J didn't become popular until the turn of the century. The show takes place predominantly in the 1870's and 1880's when Laura was a child and a teenager. She and Almanzo had up and left for the Ozarks around the time someone even thought to put peanuts in a coffee grinder to make a spread. 

And don't forget - men and women's dating/courting habits change too. 

Emotions and feelings are timeless, but social customs are not. So don't forget to change your mindset when you start writing. Only contemporary writers have that luxury. We're a bit more like fantasy writers in that we have to put ourselves in another world and live by that world's rules.

4. Your Novel is NOT a History Textbook

Now, in the middle of all of your research, don't forget that it's supposed to read like a story, not be the perfect place to geek out over the painstaking process women went through in order to sew a dress prior to sewing machines. 

If it's not relevant to the story - leave it out. 

I know this is hard. We put hours of time and research into our manuscripts. It seems logical that all those details we scrounged up should find a home, but sometimes, those little tidbits are better left on the back burner for another story - one where they will be relevant. 

So do a read though of your manuscript and check for information dumps. You're telling a story, not writing a history book. Make sure your historical details weave in naturally and aren't overwhelming.

5. You Have Options

One of the fun little facts about historical fiction, is much of your character's world is already set in place - if you want it to be. You as the author have the option of choosing your setting. Certainly, unless you are writing contrafactual history, based on your year and country of choice, there are fashion and social customs set in stone. BUT, you can choose a particular town to work with that does exist, OR your can create your own town. 

There are many historical authors that create their own hometowns for their characters. This gives them the freedom to craft their own city streets, restaurants, stores, neighborhoods and local people. It's a perfectly acceptable custom within the genre. Lauraine Snelling did this in her Red River Valley series set in Blessing, ND. Blessing is not a real place, but a fictional one. Still, it works for her series. 

At the same time, there are plenty of authors out there who chose a real-life location for their story. The Love Finds You collection is a great example of this. Authors pick a real life town and use the geography, people, stores, streets and general features of that town to build their world. Mona Hodgson did this with her Sinclair Sisters of Cripple Creek series. As you can tell from her series title, her books are set in Cripple Creek, Colorado. And she did something amazing with her real-life location. After some research on local history, she wove in the 1896 Cripple Creek fire into her plot as well as real-life businesswoman Mollie O'Bryan into her second book.

So don't forget, while many details are set in stone, there is definitely some wiggle room to have fun. But are the same time, details can add to the realistic feel of the story.

6. Music

I LOVE historical music. It really puts me in the mindset of the time. And since the invention of sheet music in the middle ages, you can actually find recordings of period music. Personally, I write books set in the victorian era, so something I did was actually look up popular music from the 1800s. I kept in mind what communication looks like, so I dated my music based on the twenty years prior to my current time, and didn't use any songs written and published to close to my setting so that the music would have time to circulate. With the invention of the radio, you can have a bit more fun. But with the victorian era, I have to be careful. But anyways... after I found a good list, I searched youtube and itunes for recordings and created a playlist from it. I listen to that playlist anytime I'm writing. 

And don't be afraid to incorporate those songs into your work. Laura Ingalls did and (I'm going to use an afore mentioned author again) Sarah Sundin mentions several popular hits from the 1940s in her books. "Green Eyes" came up several time in her first book.

7. Museums & Living History

Something you may or may not know... there are a TON of history buffs out there. If you do use a real life location, go visit and check out the local museum. Talk to the curator, ask questions about grocery stores, clothing stores, milk and paper routes, local disasters etc. These are some great factoids that you can use. 

But even if you're manufacturing your own setting, visit some locations that inspire your made-up setting. Some places like Sutter's Mill in Coloma, CA even put on Living History days. Volunteers put on period clothing and go through the motions of a normal day in that time period. It's a great way to get a grip on real life. If there's a blacksmith on duty, making horseshoes and courting candles, walk inside, open your ears and inhale deeply. What does his shop smell like? What do the furnace and the hammers sound like? Sensory details are great fuel for writing.

8. Get Over Your Introversion

A common trait among writers is shyness (I know, introversion and shyness are not the same, nevertheless, as a rule of thumb, they seem to go hand in hand). But to be blunt, shyness doesn't serve very well when researching. And if you have an aversion to old people, get over that right now. They are the ultimate authority on what life in the past was like. Find your grandparents, great-grandparents, aunts, uncles, etc. and ask them about what growing up was like for them. 

I has a conversation like this with my great-grandmother, who grew up in dairy-country in the 1920s, and learned a TON from her. She wrote down a short synopsis of what a typical week looked like for her family. I treasure that research. Primary sources are fantastic.

9. Save EVERYTHING

Everything aforementioned is great, it's what I always keep at the back of my mind, but most of all, never forget to keep track of your sources. If you don't, you'll have to go back and find it all over again the next time you need that little tidbit for your story. 

I keep a folder in my bookmarks bar with my favorite links. I also have a notebook where I write down anything someone told me personally (primary sources). And for factoids I've found online, I like to copy and paste the important details and photos into a word document that I save on my computer desktop (don't forget to back that up to a flashdrive or your email. 

Feel free to create your own system. But please... save everything.

10. Don't Forget to Have Fun.

Always remember that first and foremost, fiction is meant to be enjoyed. So enjoy yourself while you write. All of these things are important, but they don't mean a thing if you're not getting some kind of joy out of the process. God has created us with certain hobbies and loves that give us joy. To be sure, push through the low spots to get to the next moment of joy, but don't bring low spots upon yourself by loosing the fun in the process. 

Context & Hinting

Characters are funny things. In many ways they are completely open. In other ways, they are very closed off. Knowing when they are supposed to be one or the other to the reader, is a difficult lesson to learn. Primarily because everything depends on circumstance.

Most writers botch this art thoroughly in the form of thoughts: when the writer goes into detail about a character's thought process during a scene. It's the one time we really get into the character's head and see exactly what they are thinking. But often, what most writer's get wrong, is that few stories are told from the prospective of a character looking back on their life. Most characters are living in the moment.

One of my biggest pet peeves is "information dumps." Most characters understand themselves and should not feel the need to explain themselves to themselves. In Shakespearean dramas, such things are called an "aside." If you need to say something that helps the reader to make more sense of the character's life, then you have done something horribly wrong in previous scenes.

The ultimate tool for a writer is CONTEXT and HINTING. Nothing is ever stated bluntly in a novel because most characters are too engrossed in their dilemma to be thinking clearly. Aside from that, most of them don't constantly feel the need to reiterate their backstory as they go through life. This would be a little weird if someone in real life went about thinking such things like:

As Marty walked through the halls of Lincoln High School, he considered his upbringing at the family cabin by the lake. He had two sisters, Lizzy and Beth, twins actually. His dad was a pastor at the local church.

NO NO NO. It's not relevant to what the character is experiencing and it just sounds awkward. It's the author creating an information dump. It's especially easy to do when working on a series where the lives of the same characters are followed. When this happens, it's tempting to practically summarize what happened in the previous book at the beginning of the new book. Like I said... Most characters live in the moment and do not have their life story rolling through their mind 24/7.

Now... how do we fix this?

I told you before that Context and Hinting are powerful tools. Let's look at Marty once again. If we NEED to know that he grew up in a lake cabin, we can use things in his life to help the reader catch on to that bit of information instead of blatantly stating it.

To do this, we can start a new scene with Marty sitting at home and interacting with his family. His dad might ask how he likes his new school, to which Marty might answer that he misses being home schooled back at the lake house. Then, his sisters might pipe in. Marty might smile at the way they always speak at the same time, a twin trait, he guesses. The twins might say they don't miss the lake house at all and that they like their new teacher. 

Same information gets across, but it sounds less awkward and it's not an information dump. The reader still understands the same ideas about his past. It's all about CONTEXT and HINTING. Never just dump information into a story. Characters should think and process things the same way anyone in real life does.

Being a CHRISTIAN Writer

Are we writers who are Christians? Or are we Christian writers? I suppose I'll leave that one up to you. Not all of us want to write for the Christian market. Some of us are called to write for the secular market because that is where we can give God the most glory. That's what important. Where has God called you into His ministry?

Ever thought about it that way before? That writing is your ministry? It took me years to wrap my head around that. I just knew I liked writing. I didn't quite understand God's role in my writing. The two seemed separate, yet inexplicably bound together in a jumbled mess. I'm sure many of you can sympathize.

But this is what I discovered.

God created us. He knows our inmost being. In fact, He even gave us our gifts and talents, he designated them to us. Think back for a moment of the parable of the talents that Jesus told. Each servant was given gifts so that they could take them and make use of them for the benefit of the master, and eventually, themselves. Can't you just imagine God saying, "Well done, good and faithful servant"?

We were gifted with the talent of writing - the joy of writing! So why shouldn't we expect that God wants us to put that talent to use and profit from it? It's the whole point of having the talent! What use would it be... what purpose would it have if we just hid it under and rock? God intended for us to use our talent.

But here's the real question... how do we use it? And what is profit?

Those answers will vary from person to person. But when I say profit (this answer will be universally true) I do NOT mean money. It is inevitable that you will reap some financial benefits, BUT IF YOU ARE WRITING, shouldn't your writing serve some purpose? We were created to give glory to God and declare His Holy and Precious Name. This does not necessarily mean you have to write Christian works, but I do think that your works should reflect the values of our Creator and should focus on having an identity founded in Him. What this means will vary depending on your subject matter. Profit will first and foremost mean directing people to look upwards for answers. Use? Well... what story has God laid on your heart to write? Only He can tell you.

Hugs.