Writing Mentoring

You are a fabulous teacher. – Parsippany, NJ

 
Let me save you some time before reading this post by starting out as I did with Critiques: Online or via Email; Do you want to improve your writing? Are you willing to pay to improve?

If the answer to either of those is No then read no further, this post isn’t for you.

Answered Yes to both? Read on.
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Writing Critiques: Online or via Email
(paying subscribers get an automatic 50% off regardless of subscription level)

Who’s my hero? Joseph Carrabis. Just finished an edit consult where he kindly, constructively, and expertly ripped my book blurb to shreds! LOVE IT! ‘Atta Boys do you no good. Find someone who will give it to you straight!! Thank you! I owe you. Mine felt soulless. Now I see why. It is humbling to be such a novice at something. I appreciate your help. – Augusta, GA

 
Let me save you some time before reading this post; Do you want to improve your writing? Are you willing to pay to improve?

If the answer to either of those is No then read no further, this post isn’t for you.

Your critique of my novel was priceless. – Hudson, NH

 
Answered Yes to both? Read on.
Continue reading “Writing Critiques: Online or via Email
(paying subscribers get an automatic 50% off regardless of subscription level)”

Robert Newton Peck’s “Fiction is Folks”

Robert Peck’s Fiction is Folks was a difficult book for me to get through on my first read and an entertaining book on my second read. I’ll read it at least one more time before I’m satisfied I’ve sucked all the marrow from its pages (that odd phrasing is one of his suggestions. Such odd phrasings wake the reader up. You may not like that one, that’s fine, and learn the technique. Practice it. The technique useful even if my example is not).

My initial challenge was the reason I was entertained on my second read: Peck is homesy and folksy. He is direct, clear, honest. He’s a native Vermonter and it shows in both his prose and his examples.

An important point about his examples: most of them passed over me on my first read because this entire book is an example. He explains something and read his explanation again. It’s an example of what he’s explaining. Now look at the example he uses for his explanation. Yes, it’s an example and it contains a thread to the next example.

Also (and like most Writers’ Digest books I’ve read) he covers a broad range of topics well beyond character (the main item in this book). A partial list includes:

  • Blurbs
  • Plot
  • Character
  • Covers
  • Story
  • Marketing
  • Structure
  • Language
  • Exercises
  • and this doesn’t touch on the general stuff you need to know to get your work published

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Ansen Dibell’s “Plot”

First, Whoa!

The book’s entitled Plot and it has immediately useful (to me) techniques and examples on

  • Plot (duh!)
  • Story
  • Structure
  • Setting
  • Description
  • POV
  • Exposition
  • Scenes

and it does it all in 170 pages (which includes a seven page index)!

I’m blessed because I purchased most of my writing texts in the 1970s-early 1990s, long before anybody with a mobile could claim expertise and back when people had to demonstrate their abilities repeatedly to make any kind of claim.

One such demonstration was (duh!) getting a book published on a subject in which you demonstrated expertise. Publishing books cost money and took time. Honest-to-god real editors (line, copy, proof, continuity, …) actually read through a manuscript before sending it on to printing. Publishers weren’t going to put money into a project just because someone said they were an expert, that someone had to demonstrate they were an expert. Often.

And let me add, most people didn’t claim themselves to be a guru, maven, jedi, rock star, queen, genius, leader and last but not least, expert. Other people claimed it for someone once said someone proved their guruness, mavenhood, jediability, et cetera.

And usually it took a lot to prove.

How I long for the time when people’s expertise was actual expertise and not a vacuous claim because, by god, they’re going to get their fifteen minutes if it kills them.

But I digress.

Dibell’s Plot is comparable to sitting in a writing intensive. There are examples throughout, and she picks her examples wisely. Each example demonstrates several techniques but she never throws them at you all at once. She starts by demonstrating how someone is a good story/novel opening then cycles back to show how the exposition reinforces the nascent plot elements then cycles back again to demonstrate how the character reveal points to plot elements yet to come.

As I wrote above, Whoa!

Want more? How about Dibell’s explaining alternative plot structures (beyond traditional western 3-act, conflict oriented plot) back in 1988? (I’ll admit I missed these in my first reading.

Plot is one of several Writer’s Digest books I bought way back when. As a working author, they are revealing in so many ways. Most of these authors are recognizable by work if not by name, and all were full-time authors.

What causes a full-time author to write an how-to-write book? All the Writer’s Digest books I’ve read are wonderful learning tools. These authors definitely know their craft and are able to share it.

But writing an how-to-write book took time away from their writing their stories. I know I loathe anything which takes me away from my crafting (save posts such as these, were I relax my authorial muscles, stretch my imagination tendons, and basically take either a necessary or welcomed break from being creative (being creative is work. Ask any woman who’s gotten pregnant and delivered a child)).

But writing an how-to-write book is another creative process. Was this their relaxation?

Perhaps it was their way of testing their own knowledge? Of encapsulating it? I critique other’s writing and learn as much about my own craft as I do helping them with theirs.

And such musings are largely irrelevant. Plot is an excellent learning tool and strongly recommended.


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William Zinsser’s “On Writing Well”

I feel sorry for fiction writers and author-wannabes who pass by On Writing Well because it’s subtitled “The Classic Guide to Writing Nonfiction.”

Don’t let that fool you. This book is a gem.

It’s not laid out like most books I’ve read on (fiction) writing (the TOC’s chapters include The Transaction, Simplicity, Clutter, Style (okay, I recognize that one), Unity, The Interview, Writing About a Place (Oh, you mean “Setting,” right?), and other obscurities) and readers should expect that; Zinsser’s writing about how to make your writing better, more exact, more succinct, more communicative of what you want to communicate.

He’s writing a book for people who need to have their writing understood by a specific audience.

But…umm…isn’t that what fiction writers want, too?


Greetings! I’m your friendly, neighborhood Threshold Guardian. This is a protected post. Protected posts in the My Work, Marketing, and StoryCrafting categories require a subscription (starting at 1$US/month) to access. Protected posts outside those categories require a General (free) membership.
Members and Subscribers can LogIn. Non members can join. Non-protected posts (there are several) are available to everyone.
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