Benefiting from Writing Conferences

 

Networking is a part of benefiting from a conference

         Writing is a profession, and attending writing conferences and festivals are a necessary part of staying professional. Conferences allow a writer to gain new ideas to improve his work, to reinforce good writing practices, and to learn other aspects needed for his writing business. Networking allows writers to know they are not alone in the wilderness. So, how can writers benefit from writing conferences?

         Best selling author William Bernhardt gives a few ways an author can benefit from a writing conference:
 1. Come prepared. Research speakers to know what they offer that will help you. Research editors and agents to know which will provide insight into what you write or who want what you write.
 2. Listen more than you talk. "...a person gets a few minutes alone with someone who might have some good advice for them, but they use the entire time to talk about themselves or their project." Bill continues, "My advice has always been to go for the 20/80 talk rule...talk being the twenty percent."
 3. Relax and learn. "The best favor you can do for yourself is come with the expectation of learning not selling. If you're able to absorb the information, you're going to be a better and better writer. The time will come when you'll find yourself in front of the right people at the right time. And because you've been educating yourself, you'll be ready.

         Attending conferences to learn should be the first objective for attending a conference. I don't always learn something every session I attend, but, even though I taught writing for nearly 30 years, I always learn something that helps my writing improve every conference I attend.

         If you have completed a manuscript, attend a conference prepared to pitch to an editor or agent. That means you learn how to make a pitch, prepare your pitch, and practice your pitch before the conference.

         Listen to those who have been in this business for years. Gain from their experiences. Will everything you hear work for you? No, but at least you can learn what to try. If something works, you gain. If it doesn't work, you also gain the knowledge that idea won't work for you. We are made with two ears and one mouth for a reason. We need to listen more than talk.

         Absorb what you hear and see. I retain more if I write it down than if I just hear it. Therefore, I take notes so that what I hear is absorbed into my mind.

         One of the biggest reasons I attend conferences any more is to meet and greet other authors, to network with writers and publishing gurus. I become more energized and recharged after attending a conference and networking with others in the same business.

          As Bill Bernhardt says, "Go to learn. Prepare to pitch. Listen. Absorb. Meet and greet." Conferences are needed to build a writer's professionalism.

 

 

Entering Writing Contests

 

 

 

         I don't enter many writing contests even though a judge for the Writer's Digest contest told me, "Entering contests is a good idea. There were so many dreadful entries a half reasonable piece stands a good chance of getting at least an honorable mention. But is entering worth getting an honorable mention? Perhaps, entering gives more than a chance at a "prize."

         Getting a prize, no matter how small, gives a person a lift. It makes writers feel that they can write. But what have we gained besides the good feeling? There are many, many reasons why we won't be a finalist: the judge doesn't like the style; the selection doesn't meet the criteria the judge wants (not all judges are as objective as others); and, of course, perhaps the piece has problems. How can we know where we fall in this continuum?

         Unless I get something more than a pat on the back, I don't think it's worthwhile to enter a contest. A prize alone doesn't do it for me. I want to know why I wasn't chosen, or what the judges liked, or didn't, about my work. Judges are usually chosen because they have credentials in the industry: published authors, agents, and publishers. If they like my work and the feedback is positive, I know I am on the right track even if I didn't win. If they don't, I have work to do.

         How do you deal with negative feedback is key. I recently read a chat session where people were complaining about the feedback they received in the Amazon Breakout Novel Contest. Negative feedback, while not pleasant, can tell you what other people think of the story line, characters, and style. It should be taken very seriously. You may not agree and certainly judges can be wrong. The judge may be the wrong person to appreciate your work, but at least you have some idea of why your story or novel didn't fly. Sometimes we get too comfortable with our critique groups and beta readers. Getting outside feedback from a few strangers can be valuable.

         We may get positive feedback and don't win, what does that mean? We live in a culture that respects winning, and we didn't measure up, but think about it: Someone likes your or my work. They may not like it as much as some other piece, but if someone in the industry likes it, we do have a market. Perhaps not this publisher or editor, but another one will see the potential in what we wrote. Positive feedback should have us charging ahead. feeling great even if we aren't "winners."

         So, I'll spend the time to enter a contest, but only if I get something for it, and for me, the feedback is more important than winning. Entering at least a few writing contests is a major New Year goal.

         Finding writing competitions can be daunting, but Writing.Com is a good place to begin. I entered many of their contests over the past 21 years.

         Another contest that I like, have entered for 21 years, and have judged many categories is the OWFI (Oklahoma Writers Federation, Inc.) yearly competition. Oklahoma is in the name because that's where the organization center is, but people from all over the world are members and enter the contest. For information, go to owfi.org and check on Writing Contest in the navigation bar. Most contests have entry fees, but the OWFI entry fee covers all the categories you want to enter, whether one or all thirty-four. The entry time period is January 1 until February 1 at 11:59 PM.

         Below is a list of other contests for writing and/or illustrating. I haven't checked recently to see if any are no longer in existence, but if anyone is interested, he/she can quickly check.

1. CYBILS AWARDS - www.cybils.com Nominate in October.
2. THE BOSTON GLOBE-HORN BOOK AWARDS - www.hbook.com/bghb/submissions_bghb.asp
          Publishers submit between June 1 and May31 of preceding year. Deadline May 15.
3. RANDOLPH CALDECOTT MEDAL - www.ala.org/alsc/caldecott.html Deadline, December 31.
4. EDGAR AWARDS - mystery/crime/suspense genres - www.ala.org/yalsa/edwards Deadline, November 30.
5. THEODOR SEUSS GEISEL AWARD - www.ala.org Beginning Reader in the U. S. Deadline December 31.
6. GOLDEN KITE AWARDS - www.scbwi.org Must be member of the SCBWI - Entries accepted between June 1 and December 16.
7. EZRA JACK KEATS NEW WRITER AWARD - www.ezra-jack-keats.org Children’s books - Deadline: December 14.
8. NEWBERY AWARD - www.ala.org/alsc/newbery.cfm Deadline December 31.
9. SCOTT O’DELL AWARD FOR HISTORICAL FICTION - www.scottodell.com Deadline: Ongoing
10. INDIE BOOK AWARDS - www.indiebookawards.com/entryguidelines.php Enter by Feb. 24, 2012 - Fee $75.00 per entry.
11. DAN POYNTER GLOBAL EBOOK AWARDS - http://awardsforebooks.com
12. CRYSTAL KITE MEMBER CHOICE AWARD For book covers. Members of SCBWI
13. READERS FAVORITE BOOK REVIEWS & AWARD - http://readersfavorite.com Deadline for award entry: May 1, 2012 - $85.00
14. FOREWARD MAGAZINE BOOK OF THE YEAR AWARDS - http://www.forewordreviews.com/services/book-of-the-year-awards/ $99.00
         Deadline Jan. 13, 2012
15. ERIC HOFFER AWARD http://www.HofferAward.com

         Won't you join me in making one goal for 2022 to enter at least one or more writing contests?

Grammar in Writing IS Important

 

 

         I can’t count the number of times I’ve heard or read, “Why should I care about using correct grammar in my writing? That’s why they have editors.” Wrong! Most publishers don’t edit much writing that comes their way, IF they even accept any error-filled manuscript. Paying for an experienced, dependable literary editor is expensive, and the editors themselves will do only so much.

         Some writers fight the idea that grammar (including sentence structure, punctuation, subject/verb agreement, pronoun usage, spelling, etc.) impacts the worthiness of writing, which is like saying failing to lay a solid foundation does not impact the stability of a building. Good grammar is extremely important. Good grammar shows the writer's professionalism and attention to detail. The writer will also be able to give an explanation that is understood.

         Grammatical errors can cause confusion, and, in the worst-case scenarios, they can completely change the meaning of a sentence. A writer not knowing how to use good grammar will make writing difficult to read. Poor grammar (including all subtexts) breaks the flow of reading, annoys the reader, and reflects badly on the writer. No-one wants to be jarred from a really interesting read by poor punctuation or glaring grammatical errors.

         Writer Melissa Donovan states:

                            Too many times I’ve heard aspiring writers shrug off good grammar,
                   saying they’d rather focus on plot or character, they’d prefer to use a
                   natural, unlearned approach to keep the writing raw, or they will simply
                   hire an editor to do the dirty work.
                             I have a hard time buying into those lines of reasoning. Refusing to bother
                   with grammar is just plain lazy, especially for writers who yearn to be more
                    than hobbyists.

         Why should writers embrace grammar rather than make excuses for ignoring it? 

         I am not able to cover a complete grammar course here, but I will give a few areas to give writers a beginning. Here are ten reasons why good grammar should be a central pursuit in writing efforts:

1. Readability
         If your work is peppered with grammatical mistakes and typos, your readers are going to have a hard time trudging through it. Nothing is more distracting than being yanked out of a good story because a word is misspelled or a punctuation mark is misplaced. You should always respect your readers enough to deliver a product that is enjoyable and easy to use.
2. Communication
You can’t engage with others in your profession if you don’t speak the language of your industry. Good luck talking shop with writers and editors if you don’t know the parts of speech, the names of punctuation marks, and all the other components of language and writing that are related to good grammar. And, good luck communicating with most readers if you don’t know how to correctly use grammar.
         A current problem I find lately involves contractions between subjects and verbs in the narrative (non-dialogue) parts of manuscripts. We talk using contractions between subjects and verbs, so using them in dialogue works. However, even if the manuscript is written in first person, the narrative is not dialogue. Contractions between subjects and verbs in the narrative portion can result in passive voice or in confusion. For example, I’d could mean I would, I could, I should, I had. The reader shouldn’t have to decide what the author meant. He’s means he has or he is, passive voice, which we need to avoid to have good writing, clear communication.
3. Getting Published
How will you get that short story, essay, or blog post published if you don’t know the basics of grammar, spelling, and punctuation? Sure, some managing editors will go over your work and clean it up for you, but most reputable publishers have enough submissions that they can toss grammatically weak work into the trash without thinking twice.
4. Working with an Editor
I love it when writers say they can just hire an editor. This goes back to communication. If you can’t talk shop with other writers, you certainly won’t be able to converse intelligently about your work and its flaws with a professional editor. How will you respond to feedback and revision suggestions or requests when you don’t know what the editor is talking about? Remember, it’s your work. Ultimately, the final version is your call, and you won’t be able to approve it if you’re clueless about what’s wrong with it.
         Also, you need to hire the right kind of editor. An English teacher can possibly find grammar errors, if she actually understands grammar (Note: not all English teachers teach grammar anymore). However, not all English teachers can edit for other parts of a successful manuscript.
5. Saving Money
Speaking of hiring an editor, you should know that editors will only go so far when correcting a manuscript. Returning work to a writer that is solid red with markups doesn’t make either the editor nor the author feel good. Most freelance editors and proofreaders have a limit to how much they will mark up any given text, so the more grammar mistakes there are, the more surface work the editor will have to do. That means she won’t be able to get into the nitty-gritty and make significant changes that take your work from average to superior because the amount of work needed to make the manuscript readable.
6. Invest in Yourself
Learning grammar is a way to invest in yourself. You don’t need anything more than a couple of good writing resources and a willingness to take the time necessary to hone your skills. In the beginning, it might be a drag, but eventually, all those grammar rules will become second nature, and you will have become a first-rate writer.
7. Respectability, Credibility, and Authority
As a first-rate writer who has mastered good grammar, you will gain respect, credibility, and authority among your peers. People will take you seriously and regard you as a person who is committed to the craft of writing, not just some hack trying to string words together in a haphazard manner.
8. Better Writing All Around
When you take the time to learn grammar, using correct grammar becomes second nature. As you write, the words and punctuation marks come naturally because you know what you’re doing; you’ve studied the rules and put in plenty of practice. That means you can focus more of your attention on other aspects of your work, like structure, context, and imagery (to name a few). This leads to better writing all around.
9. Self-Awareness
Some people don’t have self-awareness. They charge through life completely unaware of themselves or the people around them. But, most of us possess some sense of self. What sense of self can you have as a writer who doesn’t know proper grammar? That’s like being a carpenter who doesn’t know what a hammer and nails are.
10. There’s Only One Reason to Abstain from Good Grammar
There is really only one reason to avoid learning grammar: the writer is just plain lazy. Anything else is a silly excuse.

         No matter what trade, craft, or career one is pursuing, everyone starts with learning the basics. Actors learn how to read scripts. Scientists learn how to apply the scientific method. Politicians learn how to… well, never mind what politicians do. We are writers. We must learn how to write well, and writing well definitely requires using good grammar.

         William B. Bradshaw, and author and writing expert says:
                   Whenever I get on my soapbox about grammar, people often tell me I put too
                   much emphasis on the importance of grammar -- after all, they say, why does
                   it matter what kind of grammar people use; the important thing is whether or
                   not they understand what they are saying and writing to one another.

         According to Barry Kelly in “Why Grammar Is Important in Writing,” “Grammar does play a vital role in creative writing. Proper grammar is necessary for credibility, readability, communication, and clarity. Mastering grammar will allow you as a writer to make your work clearer and more readable.”

         Grammar is the foundation for communication. Let’s examine some grammatical mistakes:

                    She was deeply effected by the death of her beloved pet. Affect is a verb, not effect (noun)
                   “Its over their.” She gestured to the large mahogany table slowly decaying in the corner. It’s over there.
                    Mary didn’t know weather it was time to go or not. Whether
                    He bought milk when he should of bought bread. Have rather than the word of
                    Let’s eat Mary. and Let’s eat, Mary.
                             Can you see how the first example could end up with Mary being eaten for dinner?
                    Goats Cheese Salad – crispy lettuce, juicy tomatoes, cucumber, goats, cheese
                             Vegetarians are certainly going to be put off this salad when they realize it contains not only   
                                         cheese, but goats!
                    My interests include cooking dogs, walking, reading and watching films.
                            Oh dear, those poor dogs. I wonder who gets to eat the canine culinary delights created by this
                                         person?

         There is used in place of their or they're, or one of the others is used incorrectly.
         It's and its are not interchangeable.
         Your and you're are not the same.

         Commas are not used where needed, or they are sprinkled like rose petals everywhere possible. Run-on sentences create a feeling of confusion in the minds of readers.

         I don't want to read a book by someone who can't manage to understand the difference between homonyms (words that sound alike but have different meanings) and/or what version of a pronoun is used as the object of a preposition.

         For example, I often hear (hear not here), "That's important to Mary and I." Really? He would say "That's important to I"? Actually, that is what he did say. A compound object is the same form pronoun as a singular object. And, I have heard and read that problem from so called well-educated people. Anything between a speaker or writer and another person means the object form MUST be used: between John and me; between my husband and me; between you and him.
         I, he, she, we, they are subjects; me, him, her, us, them are object forms; my, his, her/hers, ours are possessive forms. Object forms are not to be used as subjects. Example: Mary and him went to town. (test – him went to town. Uh, no, he went to town.) Subject forms are not possessives even if a writer adds an apostrophe and an s. Example: John’s and I’s reports are due tomorrow. Uh, no, should be John’s and my reports are due tomorrow. Subject forms are never used as objects, as discussed above. Example: The packages are for John and I. (test – packages are for I. No, packages are for me.)

1. Correct grammar is required (except in the case of dialogue in dialect).
2. Correct sentence and grammatical mechanics are needed. This point means correct subject/verb agreement, correct sentence structure, correct pronoun reference and usage, sentence variety, etc.
3. Correct spelling is a MUST. Correct spelling includes using correct words in context. Words that sound the same but are spelled differently are misspelled if the wrong word is used: For example, they're, their, and there mean completely different things.
4. Correct punctuation is important to avoid confusion.

         IF a person wants to be a REAL writer, he/she must know grammar to be considered professional. Therefore, if you don’t have a good grasp of grammar and all of its subtexts, learn. Find a good easy-to-understand book of grammar and read it, refer to it, and use the knowledge inside it. Find websites with grammar lessons and information.

         Grammar has much to do with good writing. Josh Price for Writing Studio, May 1, 2021, states: “Grammar ensures everything you write is clear; good grammar makes your writing sound professional, which gives it authority; good grammar allows your writing to be more persuasive and competitive; and you express yourself better with better grammar.”

Edit! Revise! Edit! Revise!

 
         For the past fifteen years I read and heard, “Don’t do any revising or editing until you have finished writing the whole story or book.”

         What! That goes against common sense and everything I’ve learned in all the years I studied, wrote, taught, and read. The reasons I disagree are several, but a main one (and I have seen examples of this too many times) is if an author waits until after he finishes and then changes something toward the start, he often forgets a later part of the story affected by the change but not adjusted. A story develops from the beginning to end, and once written, any change at the beginning makes differences later in the piece, changes that are easy to miss. Thus cohesion and coherence become weak and faulty.

         I know some “writers” who think any major editing should be done by an editor. Let me share something I found in the August issue of The Writer. According to Sam McCarver, the author of six John Darnell mystery novels,

                   In the time-intensive world of publishing, you may have only one
                   opportunity to intrigue an editor with your writing, your main
                   character and your story. And you must often do than within pages
                   – or the first few sentences – of your manuscript.

                   Editors are pressed for time and very perceptive in identifying good writing,
                   interesting characters and gripping stories, so they move fast through
                   your pages.

         McCarver goes on to say that an author must write the best story or novel possible: edit it, polish it, enhance it. Then he should read and make final changes – all before ever allowing anyone else to read it. Yes, before allowing anyone else to read an manuscript, the author should have spent hours improving a rough draft.

         Writing a story or novel is only half the job: Revising is the other half, a most important half, of writing. Ernest Hemingway, E.B. White, F. Scott Fitzgerald all admitted the need to revise and rewrite. Hemingway admitted he cut as he wrote, yet, he would take weeks to revise a book.

         McCarver’s article “How to revise your FICTION” gives eight steps for editing a person’s work. I happen to agree with his points, especially the one which states that delaying all editing until the manuscript is finished is a mistake.

         However, let’s examine this author’s ideas, as well as those expounded in many composition text books and believed by me:

1. Accept revising as the other half of writing. E.B. White stated that the best writing is rewriting.

2. Adopt good editing procedures. To produce a better first draft, one should begin revising with the first word written, making improvements as he goes. As a writer completes a day’s production, he should study what’s on the screen, if using a computer. If he sees a need for any changes, he should make them while they are fresh in his mind.. Then he should print what is finished.

         According to Chang-rae Lee, winner of the Hemingway Foundation/PEN Award, he tries to polish as he goes because what leads him to the next sentence is the sentence before. "I find that it's hard to move on unless I've really understood what's happening, what comes before and where it's heading."

3. Review printed pages. Writers should print out the pages finished and set them aside to “cool.” Then they should read the printout with a pen in hand, noting corrections or revisions that will improve the writing. After making changes on the computer, writers should reprint the pages, adding to the pile of finished pages. Each day’s, or period’s, work should be the same: writing, rereading, editing, and making changes as one goes.

4. Identify errors and correct them. According to McCarver, three procedures are critical in the revision process: correcting mistakes, improving content, and enhancing the story.

         The first attention needs to go to spelling and punctuation errors, typos, grammatical mistakes, and inconsistencies in tense or point of view. Although such mistakes may seem minor to the author, editors expect manuscripts to be virtually free of any errors.

5. Improve content. “What you say and how you say it also must be polished to the best of your ability,” states McCarver. “Improving content also includes considering the structure and sharpening your word choice,” as well as re-examining characters for consistency, making sure the plot hangs together, that scenes are compelling and dialogue natural, and that all loose ends are tied up.

         Word choice is a topic for another editorial, but it is a vital part of good writing.

6. Concentrate on enhancement. Enhancement goes beyond making corrections and improving content and style: It means increasing the quality and impact of the writing. A techniques given by McCarver are as follows:

         * Inserting foreshadowing for greater event impact later.
         * Increasing the emotion in dialogue and thoughts in scenes.
         * Adding or strengthening subplots.
         * Intensifying the consequences of actions and events.
         * Adding twists to the plot.
         * Shortening flashbacks, if used, and including action in them.
         * Making characters seem more real, depicting their actions, dialogue and thoughts more naturally and powerfully.

7. Do that final revision. After finishing the whole manuscript, revise again.

8. Take one last look. After revising the complete manuscript again, the author should reread the printed pages before mailing them or sending a query letter. All errors and last minute changes should be made.

         All authors want to impress editors by providing a story that the editors cannot put down. Each author, through a manuscript, has only one chance to make a great first impression.


Note: “How to revise your FICTION” by Sam McCarver in The Writer, August, 2005, provided research material for this editorial as did several composition text books and notes from my files. 

 

 

Writing a Story or Storytelling?

 

A children’s publisher (4RV’s Vivian Zabel) commented on the difference between storytelling and writing. She explained that storytelling involves visual aids, whereas writing does not.

Granted, children’s picture books do provide illustrations in the form of
visual aids, they're not the same as storytelling’s visual aids.

I had never thought of this before, but once it was said I could see it clearly.

Storytelling

Storytelling allows for the use of visual aids, which includes facial expressions. There is also voice tone, word pronunciation, along with word or phrase stressing that help aid in conveying sadness, anger, fear, and an array of other emotional sediments. This is also known as voice inflection.

Along with facial expressions and voice inflection, the storyteller can also take advantage of movement.

Imagine telling a group of children a spooky story that has the protagonist tiptoeing around a corner to see what’s there. As a storyteller you can actually tiptoe, hunched over; and exaggerating the movement enhances the suspense. Visual aids are easy to use and are powerhouses of expressions.

Another example might be if you are telling a pirate story to a young boy. You can use toy props, such as a toy sword or pirate’s hat, while limping with a pretend wooden leg. These visuals enhance the story experience for the child without the storyteller having to create the imagery with words.

Writing a Story

Writing on the other hand depends solely on the writer’s interpretation of what the facial expressions, voice, mannerisms, image, and body movement of the characters might be. And, that interpretation must be conveyed through words that preferably ‘show’ rather than ‘tell.’

If you think about it, storytelling is much easier than writing a story. But, most of us authors are writers, not storytellers, and as writers we need to convey emotions and activity through showing.

In the storytelling examples above, how might you write the scene as an author?

For the first scenario of a spooky story, one example might be:

Lucas grabbed his little brother’s hand and pulled him close. “Shhh. Don’t make any noise. It might hear us.” They crept along the wall, barely breathing, until they reached the . . .

While this passage doesn’t have the advantage of the storyteller’s visual aids, it does convey a feeling of suspense and fear.

In regard to a pirate story, as an author you might write:

Captain Sebastian grabbed his sword and heaved it above his head. “Take the ship, men.”

The pirates seized the ropes and swung onto the ship. Swords and knives clanking, they overtook their enemy.

This short passage clearly conveys a pirate scene with Captain Sebastian leading his men into a battle aboard another ship. No visual aids, but it does get its message across.

You might also note that while trying to write your story through showing, you need to watch for weak verbs, adjectives, and a host of other no-nos. In the sentence above, the words, “barely breathing” might need to be changed if it reached a publisher’s hands. Why? Because “ly” and “ing” words are also frowned upon.

So, knowing the difference, if you had your choice, which would you prefer to be, a storyteller or a writer?

I'd be a writer!

This post was first published at: https://karencioffiwritingforchildren.com/2017/06/25/storytelling-vs-writing-a-story/

 

About the Author:

 

Karen Cioffi is an award-winning children’s author, successful children’s ghostwriter, and online platform instructor with WOW! Women on Writing. Check out her middle-grade book, Walking Through Walls, and her new picture book series, The Adventures of Planetman.
 

Building a Author Platform

                                                     

         A publisher requires and every author if self-publishing  must have a platform and marketing/promotion plan before a book is published. But, how does one build a platform and what is a platform? A writer’s platform consists of several components, but an important part is an online presence, a presence created before publication, not after. A platform—also referred to as an author platform or a media platform—is an established media forum through which an author connects to his or her audience.

         Here are some steps to build your author platform, but they aren’t the only steps possible, just what I consider most important:

1. Know your target readers. If your books cover more than one genre, then you need to target readers for all the genres. Join groups that cater to people interested in those areas, for example, but not to promote your books, but to promote you.

2. Identify and define your brand. What is a brand? An author brand is an ongoing, continually evolving story that communicates what makes your work unique, and represents an implied promise to your readers of what they can expect you to consistently deliver.

3. Create a website – a MUST for all authors and should be up and running before your book or books are released.

4. Start blogging consistently. Blogging is one way to share your expertise and—at the same time—build an author platform. Don’t blog just about your writing, but find areas you know about or have researched, maybe for a book, and blog about them. Blogging to reach other writers doesn’t open avenues for books sales as blogging to reach your target readers will.

5. Build an email list. Create an email sign-up form on your website. What? You don’t have a website yet? Okay, the first step is to set up your new site.

While you’re at it, create a sign-up form that connects to an email management system; here are a few of our favorite email newsletter platforms to choose from. Put it on your homepage to capture email addresses — and take a deep breath.

      Your job is to collect emails, and to send out worthwhile content. It may take a long time to build up your email list, and to figure out exactly what your message is, but you need to practice having a following.

      Everyone you know is a contact. The more people you know, the more influence you have, especially if you know people in high places.

      So, what if those influencers are a couple degrees of separation from you? People are surprising in how they choose to support fledgling authors. I’ve witnessed seriously established authors supporting new writers just because it feels good and they remember what it’s like to be in your position.

      In addition to the list of people you’re connected to, create a list of people who might blurb you, from realistic to pie in the sky. Who would be your ideal reader? Who do you dream might one day recommend your book?

6. Write guest posts.

7. Connect offline. Attend writing conferences. Speak at writing groups, schools, or libraries.

8. Use social media wisely. Pick just two social channels. That’s right: only two. Set up a profile on each and post once a day. If once a day doesn’t work with your schedule, then set a schedule and keep it: once a week, three times a week, three times a month, etc.

      I use Facebook and MeWe, but if you’re into other channels or options, try them. If you’re writing something that lends itself to images, join Pinterest or Instagram. If your work lends itself to video, do YouTube. Experiment to find any social media channel that works for you and your writing without spreading yourself too thin.

      The key to social media is posting regularly and engaging people. You want shares because shares lead to more follows. Rather than spreading yourself thin across multiple platforms, focus consistently on the two platforms that provide the most value to you and your work.

      It takes forever (seriously) to build up a following on social media, so don’t be discouraged. Celebrate a few likes a week. Manage your expectations. Keep going.

       The best way to build an author platform is simple: start. Just like you don’t run a marathon without training for weeks or months, you don’t start your author platform completely at once. Building your platform takes discipline and hard work, but if it weren’t worth it, no one would be doing it. Building an author platform is a marathon, not a sprint.

Editing Tips

 

 

Some Editing Tips

         Becoming a good editor of your own work takes time and practice, but it’s worth it. You will learn how to improve the structure and style of your writing, communicate more clearly, and eliminate grammatical errors.Plus, if you can edit your own writing, you will be able to better edit the writing of others.

         Isaac Justesen gives the following tips for editing in Freelance Writers

1. Read Your Writing in a New Format
         If you typed it, print it out. Alternatively, convert your Word document to PDF format, or change your text to a different font, color, and size. These techniques will help you see your content from an “outsider’s” perspective and give you a more critical eye.

2. Take a Break
         Let your writing rest for a few hours or overnight. Putting a literal distance between you and your work also creates an emotional distance. When you return to it, you’re more likely to spot awkward phrases and obvious mistakes.

3. Read it Out Loud
         To discover the rhythm of your writing, read it out loud. The best writing sounds smooth, so if you find yourself stammering through poorly worded sentences, you know it needs improving.

4. Remove Uncertain Language
         Good communication sounds authoritative, so avoid wishy-washy sentences. If you use phrases like “seems to be” or “could be a reason for,” you sound indecisive and it weakens your message.

5. Avoid Repetitive Phrases
         Try not to rely on certain words or phrases to make your point; readers will notice when you repeat yourself. Aim for variety. Use a word frequency counter to find repetitive words and scan a thesaurus to find alternatives.

6. Eliminate Filler Words
         Use your word processor’s find functionality to search for “there,” “here,” and “it” to find redundant words and phrases.

7. Remove Weak “To Be” Verbs
         Using versions of the verb “to be” can weaken the words that follow. Replace “am,” “is,” “are,” “was,” “were,” “been,” and “being” with stronger alternatives. For example:
         Weak sentence: They were not enjoying the editing process.
         Strong sentence: They hated the editing process.
         Stronger sentence: The editing process repulsed them.

8. Remove Weak Adjectives
         Weak adjectives also spoil your writing. When describing nouns and pronouns, use more powerful adjectives and avoid the words “really” or “very.”
         Weak sentence: He was really scared of snakes.
         Strong sentence: He was terrified of snakes. (note the use of "to be" verb, passive voice)
         Stronger sentence: Snakes terrified him.

9. Use Grammarly to Find Mistakes
         The Grammarly proofreading tool looks at spelling and grammar mistakes and checks more than 250 advanced rules to find mistakes such as double negatives, run-on sentences, and dangling modifiers. After you’ve used Grammarly a few times, you’ll start to see common weaknesses in your writing. (Note: Grammarly is not always correct and does not find all problems, but it does help.)

10. Separate Your Editing Tasks
         If the thought of editing your own work terrifies you, break down the tasks into a series of manageable steps. In the first read-through, check your ideas flow logically. In the next read-through, look at sentence structure, and so on.

         Editing tips from Jerry B. Jenkins:

• Editors can tell within a page or two how much editing would be required to make a manuscript publishable; if it would take a lot of work in every sentence, the labor cost alone would disqualify it.
• An editor can tell immediately whether a writer understands what it means to grab a reader by the throat and not let go.
• Have too many characters been introduced too quickly?
• Does the writer understand point of view?
• Is the setting and tone interesting?
• Do we have a sense of where the story is headed, or is there too much throat clearing? (See below for an explanation.)
• Is the story subtle and evocative, or is it on-the-nose?
         Yes, a professional editor can determine all this with a quick read of the first two to three pages. Therefore, what can you do to make your writing better and/or make yourself a better receiver of editing advice?

1. Develop a thick skin or at least to pretend to. It’s not easy. But, we writers need to listen to our editors—even if that means listening to ourselves!

2. Avoid throat-clearing. This is a literary term for a story or chapter that finally begins after a page or two of scene setting and background. Get on with it.

3. Choose the normal word over the obtuse. When you’re tempted to show off your vocabulary or a fancy turn of phrase, think reader-first and keep your content king. Don’t intrude. Get out of the way of your message.

4. Omit needless words. A rule that follows its own advice. This should be the hallmark of every writer.

5. Avoid subtle redundancies.“She nodded her head in agreement.” Those last four words could be deleted. What else would she nod but her head? And, when she nods, we need not be told she’s in agreement.
“He clapped his hands.” What else would he clap?
“She shrugged her shoulders.” What else?
“He blinked his eyes.” Same question.
“They heard the sound of a train whistle.” The sound of could be deleted.

6. Avoid the words up and down …unless they’re really needed. He rigged [up] the device. She sat [down] on the couch.

7. Usually delete the word that. Use it only for clarity.

8. Give the reader credit.Once you’ve established something, you don’t need to repeat it.
Example: “They walked through the open door and sat down across from each other in chairs.”
         If they walked in and sat, we can assume the door was open, the direction was down, and—unless told otherwise—there were chairs. So you can write: “They walked in and sat across from each other.”
         Avoid quotation marks around words used in another context, as if the reader wouldn’t “get it” otherwise. (Notice how subtly insulting that is.)

9. Avoid telling what’s not happening.
“He didn’t respond.”
“She didn’t say anything.”
“The crowded room never got quiet.”
         If you don’t say these things happened, we’ll assume they didn’t.

10. Avoid being an adjectival maniac. Good writing is a thing of strong nouns and verbs, not adjectives. Use them sparingly.
         Novelist and editor Sol Stein says one plus one equals one-half (1+1=1/2), meaning the power of your words is diminished by not picking just the better one. “He proved a scrappy, active fighter,” is more powerful if you settle on the stronger of those two adjectives. Less is more. Which would you choose?

11. Avoid hedging verbs, like smiled slightly, almost laughed, frowned a bit, etc.

12. Avoid the term literally—when you mean figuratively.
“I literally died when I heard that.” R.I.P.
“My eyes literally fell out of my head.” There’s a story I’d like to read.
“I was literally climbing the walls.” You have a future in horror films.

13. Avoid too much stage direction. You don’t need to tell every action of every character in each scene, what they’re doing with each hand, etc.

14. Maintain a single Point of View (POV) or perspective (if using third person POV) for every scene.
         Failing to do so is one of the most common errors beginning writers make. Amateurs often defend themselves against this criticism by citing classics by famous authors who violated this. Times change. Readers’ tastes change. This is the rule for today, and it’s true of what sells.

15. Avoid clichés and not just words and phrases. There are also clichéd situations, like starting your story with the main character waking to an alarm clock; having a character describe herself while looking in a full-length mirror; having future love interests literally bump into each other upon first meeting, etc.

16. Resist the urge to explain (RUE).
         Marian was mad. She pounded the table. “George, you’re going to drive me crazy,” she said, angrily.
         “You can do it!” George encouraged said.

17. Show, don’t tell.
         If Marian pounds the table and chooses those words, we don’t need to be told she’s mad. If George says she can do it, we know he was encouraging.

18. Avoid mannerisms of attribution. People say things; they don’t wheeze, gasp, sigh, laugh, grunt, snort, reply, retort, exclaim, or declare them. John dropped onto the couch. “I’m beat.” Not: John was exhausted. He dropped onto the couch and exclaimed tiredly, “I’m beat.”
“I hate you,” Jill said, narrowing her eyes.
Not: “I hate you,” Jill blurted ferociously.
         Sometimes people whisper or shout or mumble, but let your choice of words imply whether they are grumbling, etc. If it’s important that they sigh or laugh, separate the action from the dialogue:
Jim sighed. “I just can’t take any more,” he said. [Usually you can even drop the attribution he said if you have described his action first. We know who’s speaking.]

19. Specifics add the ring of truth. Yes, even to fiction.

20. Avoid similar character names.
In fact, avoid even the same first initials.

21. Avoid mannerisms of punctuation, type styles, and sizes.
“He…was…DEAD!” doesn’t make a character any more dramatically expired than “He was dead.”

          Hopefully, the preceding tips will help you be a better editor and a better writer who is edited.

 

       May you have a Merry Christmas and a Happy (and much better ) New Year.

 

 

Tackling a Large Project During the Holiday Season

   

The last quarter of the year seems to fly by. Besides writing projects, holiday planning and family activities fill the calendar. Despite how the pandemic has changed our plans, a mountain of tasks remains. What happens if a large writing or editing project comes your way?

In October, an author asked me to edit a 117,000 word manuscript. Since then, two more authors have inquired about my services. I’ve also looked at a couple more projects. Now, how to figure out what I can add to my already jam-packed schedule.

If you’re facing the same dilemma, the first thing to do is take out a piece of paper or fire up your computer—I go the paperless route because it’s one less thing to lose—and make three columns:  family/home, work, volunteering. Under each heading, list all you have to do for the next two months, noting deadlines where necessary. Then the actual work begins. 

Review each item on your to-do list to see if it’s something you must work on, can delegate, or change the deadline on. You must also discipline yourself by eliminating distractions and interruptions and consider if you have the time to dedicate to volunteering. 

Let’s talk more about these and see how to create that realistic schedule you’re looking for. 

Delegate What You Can 

The easiest way to remove things from your to-do list is to delegate what you can. Gasp! You mean I am expected to allow someone else to handle things I only trust myself to do?  

I know how tough it is to give up control of things, because I struggle with it every day. Unless you want the entire holiday season to pass you by without enjoying a minute, you need to ask for help. You can delegate household chores, errands, and meal preparation to other members of your household. Even small children can help keep the living areas of your home clean by picking up their messes before bedtime. Family might gripe when you ask, but they will enjoy a less stressed you and appreciate more time together during the holidays. 

Are These Firm Deadlines? 

If a large project comes your way that you want to add to your already jam-packed schedule, it might mean you have to consider changing deadlines on smaller projects. You should not do this without giving it a great deal of thought. Some things to consider are: 

• What is the impact to the relationship with this client if I ask for an extension?
• Have I asked this client for an extension in the past?
• What is the impact to my business if I can’t meet this deadline?
• What is the impact to my business if I take on this larger project? 

Once you’ve damaged a relationship, it takes a tremendous amount of work to repair it, if the client even allows you that opportunity. On the flip side, if the new project will have a positive impact on your career, it is worth finding ways to make it happen. 

Going with less than five hours of sleep for a month is not the right way! 

Talk to your clients, keeping them informed of your progress. If it becomes necessary to move a deadline, let them know in plenty of time and be ready to offer them a new “firm” deadline for the completion of the project. 

Planning Ahead 

Planning ahead is vital to creating that realistic writing schedule you’re looking for. Here are some tips:

• Spend a few hours preparing menus for each week of November and December, including your holiday menus.
• If your holidays include baking, prepare cookie dough ahead of time and freeze it.
• Shop in bulk so you can cut back on the number of errands to pick up food, household items, and office supplies.
• Shop online. I complete over 90% of my holiday shopping online, and I take advantage of gift wrapping services when they are available.
• Consider pre-printed holiday cards. Remember, your time is also worth something.
• Ask a family member to bring a side dish to your holiday meal. 

Many of these suggestions will work year round. 

Distractions, Interruptions, and Time Wasters, Oh my! 

Distractions, interruptions, and time wasters can threaten any project, no matter the size. It is especially important when approaching a large project during the holiday season to eliminate all things that steal time away from your writing/editing. 

Setting aside a time during the day to return phone messages and emails will keep you focused on work. It is important, especially when you’re juggling multiple projects and family or volunteer activities, that you discipline yourself not to check email or surf the Internet instead of writing. Don’t fool yourself by saying it will only take a few seconds. It rarely takes a few seconds.  As you train yourself, you can also train your family to respect your writing time and not interrupt your work schedule. 

With many students learning partially or fully remote, you may have less time available in your schedule. Take time at the end of each day to plan the next day’s schedule and write out your to-do list. While you can’t plan for every interruption, put in frequent breaks so you can help with online learning. Post your schedule where family can see it. That way they will know when you’re available to help. In addition, have items readily available to entertain children once their school day ends: books, crafts, and maybe an hour’s worth of television or video games will help.  

Do I Have Time for Volunteering? 

We all like to give back to our community. It sets an excellent example for our children and makes us feel good about ourselves. The problem is we may find it hard to say no even when we don’t have the time. 

Look at your list and see how many items are under the volunteering column, then ask yourself if involvement in all those activities is realistic this time of year. That two-letter word, “no” can be difficult to say, but you’re not saying no forever, just for now.  

Rest Up 

One thing that will reduce stress around the holidays is getting the right amount of sleep. Burning the candles at both ends helps no one, and won’t make you more productive. Get the required amount of sleep each night so you’ll have a well-rested mind to tackle your projects and anything unexpected that comes your way.

You can have a realistic schedule around the holidays that will allow you to consider taking on new projects. Use these tips to help create the balance that works best for you.

Cheryl C. Malandrinos is a freelance writer and editor. She is the author of four children’s books including, A Christmas Kindness, released by 4RV Publishing. A blogger and book reviewer, she lives in Massachusetts with her husband and two daughters. She also has a son who is married. Visit Cheryl online at http://ccmalandrinos.com and her children’s book blog at https://childrensandteensbookconnection.wordpress.com

The Flash Flashes Back - Using Flashbacks

         I have waded through books that have so many flashbacks the story is lost. I have enjoyed stories that the author used flashbacks so well the story flowed. How does one use flashbacks well, and when should one not use any?

         Let's have a lesson in flashbacks.
 
         A flashback can bring information needed for a reader to understand a character or plot better, or one can overwhelm the reader with too much information. Too many flashbacks disrupt the story line and confuse the reader.

         Let's look at tips for writing flashbacks:

1. Know if and when your story needs a flashback (and use seldom). A flashback must be an essential part of the story. Never use a flashback in the middle of an action scene.

2. Look at examples of flashbacks in stories. (see sample)

3. A flashback must focus on a single event or experience.

4. Never make a flashback the first or even the second scene. Have it follow a strong scene.

5. “Signal” a flashback’s beginning and end. Let a character’s words or actions lead the reader into the flashback and then back out.
         Example: Craig’s mind wandered back to Vietnam, the battle that destroyed his life.
         Example: Marion smiled as she remembered that meeting.
         Example: With an oath, John strode to the window. He stared, not at the yard below, but back to that fateful day.
         Example: With a shudder, Craig mentally shut the door on the horror and answered the ringing phone.
         Example: Her thoughts returned to the present.
         Example: “Nothing can change what happened, nothing.” He turned from the window to face the woman sitting on the sofa.

         One method to start a flashback is using objects or senses to trigger a memory of a past scene are precisely the devices you should use to trigger flashbacks in writing. Say that you want a character to remember something about his mother… Make him find her old apron at the back of a drawer. Make him see a stranger who reminds him of his mother.

6. Verb usage should lead into and out of a flashback. 

         If you write the story in past tense, you avoid the use of “had” as a helping verb most of the time to avoid passive voice. To begin a flashback, use “had” as a helping verb for the first sentence of or two to transition from the main part of the story to the flashback. Then return to simple past tense until the last sentence or two. For the last sentence or two of the flashback, use “had” as a helping verb again.

         If you write in present tense (which I personally don’t prefer because it limits what the author can convey), you still handle the flashback as described above.

         Below is an example, a sample of a flashback:

         Marion’s head snapped up. “That would devastate Roger.” She frowned. “But, but, can you even do it?”
         “Yes, I can do it. There’s nothing legal standing in the way. I just allowed him to take over more and more until I was just a ... a bystander.”
         “Oh, my dear. When we first met, and you were so sure we should marry, I knew we faced problems, but I never thought they would last this long.” She laid her head back against her husband’s shoulder. “I had no idea that we would face something worse.”
         “I’ll never forget the first time I saw you. So beautiful and still are.”
         Marion smiled as she remembered the meeting that changed her life.

         David had gone to town to pick up a load of barbed wire and posts. The fencing around the north pasture had to be replaced, but David hadn’t wanted to take the long trip to town. The wagon couldn’t take a shortcut across country but had to stay on the road that meandered another ten miles than the route a horse could take.
         “A wasted day,” he muttered as he flicked the reins over the backs of the horses. “The old man could have sent one of the hands. No! He wants me to go.” The young man pounded a gloved fist on the seat beside him. “Had to leave before dawn, drive all day, load the stuff, and not get home until after dark. Wasted day.”
         As he wove the horses and wagon through the crowded streets of Guthrie, he cursed the job, the crowds, the need to be in town. Then he spied the tall, slender woman standing on the wooden walk beside the dirt street. The breeze stirred her blue skirts, teasingly showing the tops of her laced shoes. One hand gathered the wind tossed strands of black hair and tried to force them back into place, but the wind just whipped them away. A wizened woman stood beside the younger one. Piles of bundles occupied space around both women.
         David pulled the wagon to the side of the street, stopping beside the women. “Howdy, ma’am, miss.” He tipped his hat. “May I help you ladies?”
         The younger woman blinked in surprise, her eyes a startling blue in the pale tan of her face. “I, uh, I think perhaps you ... ” She turned to her companion in confusion.
         “Thank you, sir, for offering your help,” the old woman began, “but you’ll be better off if you aren’t seen speaking to us.”
         David frowned. “And why is that? You seem decent ladies.”
         A tall, grizzled man in buckskins joined the two women. “You are right, sir.” A southern drawl tinged his speech. “My mother and daughter are good, moral women, but the people of this town hold it against them that my father was half Cherokee.”
         “So what?” David replied. “Most of us around here have some Indian in us.”
         The man laughed. “You are rather naive, sir. Your parents would be shocked to know you spoke to us.”
         “My parents do not tell me who I can talk with. They don’t control my friends.” David’s eyes narrowed. “I’m my own man and make my own decisions.”
         The older man studied the younger for a few seconds. “I do believe you.” He stuck out his right hand. “I’m Henry Thunderhawk. This is my mother Margaret and my daughter Marion.”
         David grabbed the other man’s hand, feeling the sinewy strength. “Glad to meet you, sir. May I help you load your things?” He motioned toward the bundles on the walk.
         “I just discovered that the wheelwright can’t get to my wagon.” Henry Thunderhawk shrugged. “The wheel rim broke. And oddly there isn’t a wagon to buy, rent, or steal in town.”
         “Well, if you’ll let me get my load on first, I’ll come back and pick you and your things up.” David glanced toward Marion. “It might be a bit tight fit, but if you don’t mind ...”
         “Perhaps I should refuse your offer for your sake,” Henry suggested, “but I don’t want my mother and daughter exposed to any more hatred.” He shook his head, his longish hair flapping against his neck. “At least you won’t have to go but about a mile out of your way.”
         Thereafter, David insisted on making trips to town for supplies. Each trip, he stopped at the Thunderhawk homestead, both going and coming. Each stop, he managed to spend at least a few minutes alone with Marion. One evening, as she walked to the wagon with him, David took her hand, pulling her to a stop.
         “Marion, I, uh, I wonder if you’d mind if I talked to you dad about us?” He studied her face in the darkening light. “Or have I spoke too soon?”
         The white of her smile shone through the twilight. “No, not too soon. I just hope you know what you’re asking.” She lightly brushed the side of his face with cool fingers.
         “I know I want you for my wife. That’s all I need to know.” He ducked his head and brushed his lips across hers.
         “Don’t promise something if you can’t keep it, David. I couldn’t stand that.” Marion had tried to smile again, but quivering lips wouldn’t allow the smile to form. “If you promise never to leave me, and then you did ... I couldn’t stand that.” She had lowered her head. “I would prefer that you never promise.”

         Her thoughts returning to the present, Marion asked, “Remember when you promised you would never leave me? Your parents made it hard for you to keep that promise.”

         A flashback can be a useful tool for a writer to use, if used correctly.

 

Grammar - The Foundation of Good Writing

         I can’t count the number of times I’ve heard or read, “Why should I care about using correct grammar in my writing? That’s why they have editors.” Wrong! Most publishers don’t edit any writing that comes their way, IF they even accept any error-filled manuscript. Paying for an experienced, dependable literary editor is expensive, and the editors themselves will do only so much.

         Some writers fight the idea that grammar (including sentence structure, punctuation, subject/verb agreement, pronoun usage, spelling, etc.) impacts the worthiness of writing, which is like saying failing to lay a solid foundation does not impact the stability of a building. Good grammar is extremely important. It shows the writer's professionalism and attention to detail. The writer will also be able to give an explanation that is understood.  
 
         Grammatical errors can cause confusion, and, in the worst-case scenarios, they can completely change the meaning of a sentence. A writer not knowing how to use good grammar will make writing difficult to read. Poor grammar (including all subtexts) breaks the flow of reading, annoys the reader, and reflects badly on the writer. No-one wants to be jarred from a really interesting read by poor punctuation or glaring grammatical errors.

         Writer Melissa Donovan states:

                   Too many times I’ve heard aspiring writers shrug off good grammar,
                   saying they’d rather focus on plot or character, they’d prefer to use a
                   natural, unlearned approach to keep the writing raw, or they will simply
                   hire an editor to do the dirty work.

                   I have a hard time buying into those lines of reasoning. Refusing to bother
                   with grammar is just plain lazy, especially for writers who yearn to be more
                   than hobbyists.

         Why should writers embrace grammar rather than make excuses for ignoring it? Here are ten reasons why good grammar should be a central pursuit in writing efforts:

1. Readability
         If your work is peppered with grammatical mistakes and typos, your readers are going to have a hard time trudging through it. Nothing is more distracting than being yanked out of a good story because a word is misspelled or a punctuation mark is misplaced. You should always respect your readers enough to deliver a product that is enjoyable and easy to use.

2. Communication
         Some musicians learn to play by ear and never bother to learn how to read music. Many of them don’t even know which notes and chords they’re playing, even though they can play a full repertoire of recognizable songs and probably a few of their own. But get them in a room with other musicians and they’ll quickly become isolated. You can’t engage with others in your profession if you don’t speak the language of your industry. Good luck talking shop with writers and editors if you don’t know the parts of speech, the names of punctuation marks, and all the other components of language and writing that are related to good grammar.

3. Getting Published
         How will you get that short story, essay, or blog post published if you don’t know the basics of grammar, spelling, and punctuation? Sure, some managing editors will go over your work and clean it up for you, but most reputable publishers have enough submissions that they can toss grammatically weak work into the trash without thinking twice.

4. Working with an Editor
         I love it when writers say they can just hire an editor. This goes back to communication. If you can’t talk shop with other writers, you certainly won’t be able to converse intelligently about your work and its flaws with a professional editor.          How will you respond to feedback and revision suggestions or requests when you don’t know what the heck the editor is talking about? Remember, it’s your work. Ultimately, the final version is your call, and you won’t be able to approve it if you’re clueless about what’s wrong with it.

5. Saving Money
         Speaking of hiring an editor, you should know that editors will only go so far when correcting a manuscript. It’s unseemly to return work to a writer that is solid red with markups. Most freelance editors and proofreaders have a limit to how much they will mark up any given text, so the more grammar mistakes there are, the more surface work the editor will have to do. That means she won’t be able to get into the nitty-gritty and make significant changes that take your work from average to superior because she’s breaking a sweat just trying to make it readable.

6. Invest in Yourself
         Learning grammar is a way to invest in yourself. You don’t need anything more than a couple of good writing resources and a willingness to take the time necessary to hone your skills. In the beginning, it might be a drag, but eventually, all those grammar rules will become second nature, and you will have become a first-rate writer.

7. Respectability, Credibility, and Authority
         As a first-rate writer who has mastered good grammar, you will gain respect, credibility, and authority among your peers. People will take you seriously and regard you as a person who is committed to the craft of writing, not just some hack trying to string words together in a haphazard manner.

8. Better Writing All-Around
         When you’ve taken the time to learn grammar, it becomes second nature. As you write, the words and punctuation marks come naturally because you know what you’re doing; you’ve studied the rules and put in plenty of practice. That means you can focus more of your attention on other aspects of your work, like structure, context, and imagery (to name a few). This leads to better writing all around.

{indent{According to Toni Fitzgerald ({i}The Writer{/i}, May 2020, page 14), "Reading messy grammar is diffult."

9. Self-Awareness
         Some people don’t have it. They charge through life completely unaware of themselves or the people around them. But, most of us possess some sense of self. What sense of self can you have as a writer who doesn’t know proper grammar? That’s like being a carpenter who doesn’t know what a hammer and nails are. It’s almost indecent.

10. There’s Only One Reason to Abstain from Good Grammar
         There is really only one reason to avoid learning grammar: the writer is just plain lazy. Anything else is a silly excuse.
         No matter what trade, craft, or career one is pursuing, everyone starts with learning the basics. Actors learn how to read scripts. Scientists learn how to apply the scientific method. Politicians learn how to… well, never mind what politicians do. We are writers. We must learn how to write well, and writing well definitely requires using good grammar.

         William B. Bradshaw, and author and writing expert says:
                   Whenever I get on my soapbox about grammar, people often tell me I put too
                   much emphasis on the importance of grammar -- after all, they say, why does
                   it matter what kind of grammar people use; the important thing is whether or
                   not they understand what they are saying and writing to one another.

         However, grammar is the foundation for communication. Let’s examine some grammatical mistakes:

                    ‘She was deeply effected by the death of her beloved pet.’ Toni Fitzgerald, page15, states, "Affect is a verb, and effect is (almost always) a noun."
                   ‘Its over their.’ She gestured to the large mahogany table slowly decaying in the corner.
                   Mary didn’t know weather it was time to go or not.
                   He bought milk when he should of bought bread.
                   Let’s eat Mary.’ and ‘Let’s eat, Mary. Can you see how this could end up with Mary being eaten for dinner?
                   Goats Cheese Salad – crispy lettuce, juicy tomatoes, cucumber, goats, cheese
                   Vegetarians are certainly going to be put off this salad when they realize it contains not only cheese, but goats!
                   My interests include cooking dogs, walking, reading and watching films. Oh dear, those poor dogs. I wonder who gets to eat the canine culinary delights created by this person?

                   There is used in place of their or they're, or one of the others is used incorrectly.
                   It's and its are not interchangeable.
                   Your and you're are not the same.
                   Commas are not used where needed, or they are sprinkled like rose petals everywhere possible. Run-on sentences create a feeling of confusion in the minds of readers.

         All right (and that's another mistake, using alright for all right), some people don't know grammar well, but writers and editors definitely should. I don't know that I would want to read a book by someone who can't manage to understand the difference between homonyms (words that sound alike but have different meanings) and/or what version of a pronoun is used as the object of a preposition.

         For example, I often hear (hear not here), "That's important to Mary and I." Really? He would say "That's important to I"? Actually, that is what he did say. A compound object is the same form pronoun as a singular object. And, I have heard and read that problem from so-called well-educated people. Anything between a speaker or writer and another person means the object form MUST be used: between John and me; between my husband and me; between you and him.

1.  Correct grammar is required (except in the case of dialogue in dialect).
2.  Correct sentence and grammatical mechanics are needed. This point means correct subject/verb agreement, correct sentence structure, correct pronoun reference and usage, sentence variety, etc.3.
3.  Correct spelling is a MUST. Correct spelling includes using correct words in context. Words that sound the same but are spelled differently are misspelled if the wrong word is used: For example, they're, their, and there mean completely different things.
4.  Correct punctuation is important to avoid confusion.

         IF a person wants to be a REAL writer, he/she must know grammar to be considered professional. Therefore, if you don’t have a good grasp of grammar and all of its subtexts, learn. Find a good easy-to-understand book of grammar and read it, refer to it, and use the knowledge inside it. Find websites with grammar lessons and information.

          Grammar has much to do with good writing. It is the foundation of good writing.

Marketing -- a Must Part of Publishing

            Most people don't recognize marketing as a part of publishing, but it is. Once a publisher accepts a manuscript or an author decides to self-published, marketing on the part of an author (and an illustrator) needs to begin.

         Somehow someway, the rumor that an author's job ends once a manuscript goes to press spread throughout the world. However, nothing could be farther from the truth. Remember, authors and illustrators are the best promoters of their books. If an author like James Patterson has to promote his books, those of us not as well known or as popular must promote even more.

         Below is a list of ideas whose sole purpose is to assist authors and illustrators in their marketing efforts. No one needs to try all the ideas but should try several. If some don't work, try something else. However, a few are needed, such as numbers 1, 8, 9, and 12.

1. Promote on Facebook and other on-line social media. (Contracts state authors should have a blog, a website, and be at least on Facebook.) Get that website up and running -- before the book is released.

2. Send handwritten notes, cards, or greeting cards to inform friends or the public of your new book or existing books as well as any appearances you are making.

3. Use handwritten fonts as an alternative to actually handwriting cards.

4. Use Sendoutcards.com or a similar medium as a way to contact others.

5. Search out and enter contests. Researching online is one way to find contests. OWFI has a writing competition every year (owfi.org).

6. Join the Chamber of Commerce and use its networking opportunities.

7. Promote your book on radio, t.v. spots, and/or talk shows.

8. Talk to your librarians about purchasing your book for their shelves or fill out a book request. The library will often purchase that book after the request. Also, have friends and relatives request your book at their local libraries.

9. Have a giveaway once in a while. There are different ways to do this. Be creative. B.J. Daniels gives away special bookmarks, magnets, aprons, and other mementos of her books. Personally, I prefer not to give away a current book, but if you have previous books, you might give away one or more of them to build an interest in your new book.

10. Set up a booth in art, crafts, street, or book festivals. Sell your books directly. Authors and illustrators usually make more by buying their books at a discount, selling at retail (or slightly lower), and pocketing the profit.

11. Donate a copy of your book to one or more local schools and get media coverage, even if in a small local paper.

12. Write a very short story about one or two of your book characters and post it on your blog or other places as a FREE item, a lead-in, or attention-getter for your book.

13. Build your name's brand, or that of your book, by giving away pencils or pens with your name and email address on them, bottles of water, bookmarks, postcards, etc. Always have business cards to give away.

14. You should provide information (links) on social media and on handouts such as fliers and postcards so that people know where to find your book or books.

15. Prepare postcard-sized inserts with your autograph to place in each book: On the card, have your photo, brief info about books, and a polite request for the reader to place a rating and brief review on Amazon if book pleased reader.

16. Prepare and keep an event diary for annual events in which you are interested in participating. In that digital or hard-copy diary, keep a compilation of press releases, press clippings, email blasts, photos, marketing materials, a monthly to-do lists, and anything else that would be helpful for you to plan the next year's attendance or that would be helpful for the next year's publicity person. For example, OWFI has a conference annually. If you attend, speak at that conference, and/or have your book or books in their conference bookstore, then have an event diary for that event.

17. Don't write just one press release. Customize the release for each specific media. A different slant is needed for media out of town than for local media.

18. Promote your book at least 3-4 months before it's released officially. This idea may not work or be wanted for every book, but it will help for some books.

19. Find local places to host a book signing for you and/or to carry your book(s). For example, a book about sports might grab the interest of a sporting goods store; a book about dolls might interest a toy store; a book about a dog or cat or other pet might interest a pet store.

20. Have a guest book for people stopping by your booth at an event. Be sure visitors write their emails so you can send messages (with a way for the recipients to "opt-out" of receiving more emails) go share writing tips and information about upcoming events or books.

21. Be aware of opportunities to promote your book.

For example, one 4RV author carries a copy of her book and another book to read with her. While waiting for an appointment or for a friend, she reads the extra book and looks around to see if anyone else is reading. When she sees a person reading, she asks the person the title of the book. She tells the person she is an author and is interested in what people like to read. That short conversation provides an opportunity for her to talk about her books. She doesn’t always sell a book, but she can give the person a business card and flier about her books.

         Finally, search for other ideas to promote your book. Be creative, but don't be afraid to "borrow" ideas from others. You are the best person to promote your book because you know it better than anyone else. Be proud of your "baby" and present it to the world. You may not be a James Patterson, yet, but you can promote as hard as he does.