I’ve been thinking for awhile that I’d like to do some mini workshops on this blog. Now, I have a boatload of topics I could teach on. After all, I’ve taught or keynoted at writers’ conferences all over the country for the last 30 years. But here’s the thing, I don’t want to teach just another workshop. I want to help you with the issues you’re facing in your writing. So here’s your chance to open up and share.
What struggles or questions are bugging you the most? Is there some element of the craft that you’re arm-wrestling lately? Or is finding and maintaining creativity your bugaboo? Are you losing sleep wondering about proper etiquette at writers’ conferences or trade shows? Whatever you most need as a writer, share that here. I’ll gather the responses and put together workshops to help you figure it out.
Sound good? Okay then.
Share!
Middles. I hate middles and always struggle with them. I die for six months at a time in the middle of every book. I think the middle is for having the character learn all he needs to learn, so he can defeat the foe/win the prize/make the sacrifice at the end. So I think to write the middle you have to know the end and have the theme down. But I still hate middles. Why are middles so tough and what will make them easier?
Stomach crunches…oh wait, I made that about me.
Sally, I find the middle a bit of a challenge also, because I want to skip to the triumphant ending and have all the fireworks and good stuff. I still see the middle as easier than the beginning though.
I have a hard time writing dialog (and spelling dialog too). I hate when I’m reading fiction and can’t tell who said what without counting back so I end up with a lot of “…” he said. “…” she said.in my fiction. Over and over. I need to learn how to write dialog without the he said she said, plus I’m running out of synonyms for said. Thanks so much. Linda
A mini-course on What to Accomplish at Your First Writers’ Conference. I’m just beginning my publishing journey and I’d love to hear your tips.
Karen, thank you for asking what we’d like! I think whatever you taught would be of benefit.
The one thing I’m dealing with right now is a heroine who can be unlikable just because she’s being a very bad girl right now. Obviously that will change, but her character arc is what the story is all about. So how do you take an “unlikable” character and make readers stick with the story?
That might be too specific. I guess it would fit into a class on characterization.
Hi Karen,
I would be interested in learning a few things about genre and marketing especially within Christian fiction.
I am about to start my query and it seems agencies want writers to know how to define our market. I don’t know where to start with this.
I would also like some information about what is acceptable within the Christian market. My novel is an inspirational one which shares the gospel but the main character comes from a tough background. I tried very hard to stay authentic to her experience and keep it clean. My fear is it will be too edgy to be in the Christian market place but too Christian for a secular publishing house to consider it.
Thank you.
I’d love to hear your advice on how to balance my personal life with my writing life. I have recently had some tragedies in my family and for the past two years have struggle to get that creativity back into my writing. I’d love to hear what others have done, to keep the creative ink flowing when your emotions are drained.
I could use some pointers on self-editing. I am simply not good at spotting my own errors.
Karen, thanks for recommending “Self-Editing for Fiction Writers” by Renni Browne & Dave King. It was a great read and will not be gathering dust on my bookshelf. It will serve me well as a constant resource.
I’d like to learn more about formatting a devotional, from manuscript to proposal format.
I enjoy learning from you and look forward to these workshops!
I’m about to hire an editor to help me fix up my suspense novel, which is languishing in the “best proposals” pile of a well-known agent. It needs editing, he tells me.
My question would be, (1) What’s the best way for me to work with an independent editor, (2) What should I expect from the session (manuscript evaluation and annotation), and (3) What should I be offering in terms of expectations, attitude or other preparation?
FWIW I work at being thick-skinned, and am happy to learn how to do better.