Faith and Destiny

Destiny knew that she had a great calling to fulfill.  She had agreed to take on a spiritual assignment that would bring love and joy to her little corner of the world.  However, her inner critic was loud and persistent.  She did not believe that she was capable of accomplishing that which she was meant to do.  Even after years of spiritual lessons and tutoring from the angels themselves, she still did not believe in herself.  It wasn’t that she did not want to do it.  Her inner critic always convinced her that she wasn’t ready quite yet.  Years were passing by and she was still waiting to become worthy of her own special place in the world.

The angels have a way of making sure that we fulfill our promises to them, so they sent Faith to cheer Destiny on.  At first, Destiny hardly even noticed that Faith was present.  Faith would not be ignored.  She made a point of getting Destiny’s attention and she forced Destiny to take her seriously.  They soon became the best of friends.  Destiny had never had a friend to cheer her on the way that Faith did.  Faith found that Destiny was very good at pointing out which path before them was the divine path for the two of them.  So, with Faith’s undying belief and Destiny’s sense of direction, they traveled together focusing on healing each other’s old wounds and on how Destiny would fulfill her promise to the angels.  Faith had not been asked to make any commitments to the angels other then to support those who had made promises.

After a handful of years traveling through life with Faith, Destiny was finally ready to begin her spiritual mission.  With Faith cheering her on, she began making the formal plans and preparations.  She quit her ‘real job’ and went to work for the angels.  She began the task that had been assigned to her and fell flat on her face.  It hurt.  Faith helped to pick Destiny back up again and soothed her until she was ready to try it again.  Never at any time did Faith doubt that Destiny had what it would take to make this thing happen.  So Destiny dove again.  Yet again, she failed.  Again, Faith was there to keep her believing in herself when her inner critic was shouting out, “See, I told you that you’d fail!”  Just as Destiny was about to make her biggest and most dramatic attempt at fulfilling her promise to the angels, Faith suddenly disappeared from her life.  Destiny had made such a huge running start towards this third attempt that she couldn’t do anything but keep going if nothing else as a tribute to her love of Faith.  Destiny made it much further and farther that third time, but she still failed.  Without Faith there to pick her up again, she did not feel that there was any point in trying again.  She had failed Faith and she had not kept her promise to the angels.

As life’s dramas swallowed Destiny’s time and energy, she kept reflecting on what had happened.  Where was Faith when she so desperately needed her?  Why had Faith deserted her?  Would Faith ever come back?  Why had she failed at giving her gift to the world three times?  Why would the angels ask such a thing of her and spend all of those years training her if only to let her fall on her face over and over again?  What would she do with her life now that she was no longer working for the Angels?  Who would she become since she was not living out her own promises?  Would the angels ever forgive her?  Would she ever forgive herself for losing Faith?  Would she ever forgive herself for failing at her spiritual calling?  Who would fulfill her promises now that she was such a loser?

Slowly, Destiny began to miss being the kind of woman who accepts huge cosmic challenges.  She missed being the kind of woman that Faith could believe in.  She missed being the kind of person that angels would seek out when they needed assistance.  She missed being the essence of who she really was.  She came to see that even if she failed every single time for the rest of her life, there was no one else that she would rather be.  There really was no other path for her then the one that the angels had pointed her towards.  She found her own inner belief.  She healed her own wounds.  Destiny stood up again and began walking carefully down that path again.  This time, she would have to do it without Faith.  Nobody believed in her.  Nobody supported her.  Nobody really loved her.  It did not matter anymore because she believed in herself, she supported herself, and she had finally learned to love herself.

When Destiny took her fourth leap of faith and dove into her spiritual work, it began very very slowly but steadily.  This time, it began to work.  This time, she was not afraid.  This time she would not quit if she fell.  This time she would fly with her own wings not on someone else’s.  She still desperately ached for Faith’s companionship, but she did not require someone else’s belief in her anymore.  Faith would always be her favorite old friend no matter where she was and no matter if they ever saw each other again, but Destiny could walk tall and travel alone now.  Silly things like success and failure did not matter anymore, just living the life that she had promised to live.

Do not be afraid to walk alone.  Do not wait until others cheer for you.  Do not stop yourself because your support system has disintegrated.  The angels may not always help you the way that you want them to, but you also must remember that you would not be asked to do something spiritual and holy if they did not believe in you.

by Skye Thomas www.TomorrowsEdge.net

Click here to return to the index of Articles

Expand Your Creativity: Stop Thinking!

Want a fast way to get creative? Stop thinking! Most of what we call “thinking” is simply labeling. We’re repeating old tapes in our head. This type of thinking is not creative, and there’s no way to access our true creativity from this mindset.

Like most adults, you probably lost the skill of dropping into a creative mindset at around eight years old. It’s time to reclaim this skill. Here’s how to access your innate creativity.

Daydream
When you want to become creative, your first step is slow down. Relax. Play some calming music, or simply close your eyes, take a few deep breaths, and daydream for a few minutes.

Don’t try to rush this initial slowing down. You’re aiming to drop out of the world of your usual concerns. Fantasize. Imagine you’re living on tropical island, where your every wish is catered for. Make this daydreaming scenario as real as you can. Hear the waves, let the sand sift through your fingers, and feel the warmth of the sun on your skin.

Control anxiety
While you’re daydreaming, beware of ruminating about your everyday problems and concerns. If you find yourself worrying about your job, finances or relationships, switch back to fun-fantasy mode. Take a couple of deep breaths, close your eyes, and build up your tropical island (or other) fantasy in your mind once again.

If you feel guilty because you think you’re wasting time when you take a few minutes to daydream, your own experience will show you that you’re NOT wasting time when you daydream, you’re increasing your productivity. Our rush-rush lifestyle chokes off creativity. Only relaxation will allow your creativity to bubble up and will get you into a true creative state. (Note: such a state is also called a “peak experience” or “flow state”.)

Brainstorm
When you feel completely peaceful and relaxed, you can start working at your creative task. Do some brainstorming.

One of the cardinal rules of brainstorming is — ACCEPT ANYTHING, DON’T JUDGE.

This is because you can do things with your ideas once they’re on paper or the computer screen. You can reverse them, combine them with three other ideas, and grow further ideas from the seed of one idea.

Unless you accept junk ideas, you can’t make the creative leap which gives you a brilliant idea. So never discard anything when you brainstorm.

Try brainstorming in different locations to see whether it makes it easier to come up with ideas. I love my little Palm PDA (Personal Digital Assistant) because I can write anywhere — in a supermarket checkout line, when I go for a walk, in the library.

Often, when you try to brainstorm in the place you associate with “serious” work, like your office, it’s hard to stay in a creative mood.

So try brainstorming in bed, in the living room, in the mall — anywhere you happen to be.

Create personal symbols, and manipulate them
One of the secrets of creativity is the use of symbols. This is because our right brain thinks in images. Our right brain isn’t verbal, language is a function of our left brain. If you remember to use symbols while you’re working at a creative task, you’ll be using both sides of your brain.

How does this work?

Let’s say that you have a ferocious inner editor. Whenever you try to work at a creative task, your editor pops up and tells you you’re doing it wrong, your work isn’t any good, you’re wasting time, you don’t know enough, and on and on.

Close your eyes for a moment and allow an image to form of your inner editor. Mine looks like a buzzing mosquito. Yours may look like your mother, a high school teacher, or a yapping small dog.

Whatever your inner editor looks like, it’s time to shut it up. You can do this by locking your editor in a room or a box (throw away the key), asking it to pack its bags and leave, by spraying it with bug spray, or by whatever inventive scenario you develop. Unfortunately, you aren’t destroying your editor for good. It will pop up again, and you’ll need to go through the process again. However, it does get rid of the editor long enough for you to complete your creative task in freedom.

You can develop a symbol for anything. One of the most useful is for your current creative task. Let’s say you’re writing a book. Close your eyes, and allow a symbol to come to you. Maybe it’s a paperback or hardback, with the title and your name as the author on the cover. Whatever symbol pops up, accept it, even if it makes no sense. For example, your symbol might be an ice cube, a fire engine, or a Disney character. You can work with whatever symbol comes to you.

You work with the symbol in whatever way you please. You can dialogue with the symbol, for example. Ask it questions, and write down the answers. If you’ve ever done any dream work, this is a similar process.

It’s often enough to simply be aware of the symbol, to imagine it. The symbol is part of your creative right brain, and being aware of it triggers your right brain into action. You’ll find that the symbol is especially useful if you’re not in the mood to work on your creative task. Just play some music, bring your symbol to mind, and daydream. You’ll find that your mood changes, and you begin to work without effort.

Think of your symbol as a key to your creative self.

Allow yourself to be creative
Finally, it’s important to acknowledge to yourself that you can’t force creativity. You can only allow it. Daydreaming, brainstorming, and the creation of symbols are all ways of giving yourself permission to be creative.

If you use affirmations, try this: “I allow myself to be creative”. Relax, and allow your creativity to bubble up. Try the above processes whenever you want to be creative. They’re easy, and they work. Remember to switch off your thinking mind, and you’ll be as effortlessly creative, and as happy, as a small child making mud pies or building sandcastles.

Veteran multi-published author and copywriter Angela Booth crafts words for your business — words to sell, educate or persuade. E-books and e-courses on Web site. FREE ezines for writers and small biz: http://www.digital-e.biz/ This email address is being protected from spambots. You need JavaScript enabled to view it.or at: P.O. Box 221255 Beachwood, Ohio 44122 Phone: (216) 991-8428

Click here to return to the index of Articles

Everyone Loves a Good Story!

Everyone, no matter what age, loves a good story. And stories have been around as long as humans could communicate with each other. Our great books of wisdom are filled with stories. It is the stories we remember and internalize. A well told story makes a party worth attending, a speech worth remembering, and a class worth taking.

During the past quarter of a century, there has been an exciting resurgence of the appreciation for oral storytelling in our nation and across the world. The organization that has been instrumental is Storytelling Foundation International (SFI). To quote, “We have told stories since the beginning of time. They are the narratives of life, spanning the centuries and connecting the generations. They are the vessels in which we carry our shared adventures and most precious memories.”

Twenty-eight years ago, Jimmy Neil Smith, President and Founder of SFI, organized the first storytelling event in his town of Jonesborough, Tennessee. Smith, a former journalism teacher and then mayor describes pulling up a wagon for five storytellers to perform for a gathering of about 60 people. Today, that initial storytelling event has grown into a crowd of more than 10,000 people from 50 states and 40 countries who attend the National Storytelling Festival held the first weekend in October. Huge tents are set up, and the enthusiastic crowd of all ages, backgrounds, and interests share three days of listening to storytellers from all over the world.

The stories vary from traditional folk tales, fairy tales, personal stories, historical narrative, poetry, fables, to tall tales, ballads and songs. Some storytellers sit quietly on a chair or stool, captivating us with their voices and facial expressions. Some move around the stage with furious action. Others use mime, music, and involve members from the audience. Every telling becomes an experience.

The magic of these storytellers’ stories creates wonder, laughter, tears, applause, enlightenment, understanding, but, most important, the sharing of stories between attendees. Their stories help us to remember our stories. I have discovered that when we know someone’s story, we can’t keep from liking them. No matter what our cultural, ethnic, educational and material differences are, we all have similar stories. That’s the magic of storytelling.

In upcoming articles, I will be writing more about what is happening today in the world of storytelling, the how-tos of the art of storytelling, how to become involved with storytelling and storytellers (they are everywhere!), and the benefits, uses and power of storytelling.

If you would like to try an issue of ourFREE eclectic e-newsletter, Portfolio Potpourri, sign up by clicking This email address is being protected from spambots. You need JavaScript enabled to view it. and hitting SEND. Just for trying it, you will receive “10 Tips of Ways to Develop Your Personal and Professional STYLE.”
We never sell names and/or e-mail addresses, and if you ever wish to “opt-out” that’s never a problem.
Contact Chris King at:
This email address is being protected from spambots. You need JavaScript enabled to view it.
or at: P.O. Box 221255
Beachwood, Ohio 44122

Click here to return to the index of Articles

Eliminating Passive Writing

Passive Writing is common pitfall, one so insidious that it even pops up in the writing of very experienced authors from time to time. It can sap the life and energy out of the most exciting story.

I’ve read entire manuscripts written in passive sentences, which make the story sound like it’s about to start, but never takes off. Passive writing tells rather than shows; the author circles the story without ever letting the reader become involved in the action. Here’s an example:

In the field was a mouse. He was sitting in the tall grass. There was a cat across the road. The cat smelled the mouse, and began to walk to the field. There was a noise in the grass. The cat and mouse looked at each other. Each sentence falls like a lead weight on the page.

Sentences that start with forms of there was, there is, and there are (or he/she was, he/she is, etc.) are telling and almost always passive. Search for these constructions in your writing and eliminate them. Began to can also be passive.

When writing actively, verbs are your most valuable tool. Pick verbs that describe exactly how your character is acting; alternate words for sat carry different emotional meanings (perched, slouched, squat ). The subject and verb contain the important information in each sentence, so keep those elements close together and toward the front of the sentence to achieve the greatest impact.

Another problem with the above example is that there is no main character. The viewpoint of both the cat and mouse are shown. In one sentence — There was a noise in the grass — you’re not sure who is hearing the sound. If you write the story from one point of view it forces you to see the events through your main character’s eyes, thus leading to active writing.

Here is the cat-and-mouse scenario with the passive writing eliminated, using specific, descriptive verbs, and adding a bit of dialogue:

The mouse lolled in the field, nibbling on a seed. He sighed as the soft rustling of the grass caressed his ears. Suddenly, he leapt to his feet as a rumbling purrr floated through the breeze. The mouse stared straight into two yellow eyes and a wide, cat grin. “Egads!” he shrieked.

The reader will assume that the cat smelled the mouse and stalked his prey across the field. By eliminating passive writing, the mouse is poised for action, and the story is off and running.

It takes time and practice to eliminate such problems as expository dialogue and passive writing from your work. But the payoff for your hard work and diligence will be a smoother style and a heightened ability to create remarkable stories.

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about writing children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com

Click here to return to the index of Articles

Eliminating Lazy Writing

The children’s book market is highly competitive. In order to make your manuscript rise above the rest, you not only need an enticing story and vivid characters, but your prose must be solid and fresh. Say exactly what you mean, but say it differently from everyone else. Sound impossible? It’s not, if you know what to look for.

The following are words which, if used in excess, will cause writing to feel flat. While these words can’t be eliminated entirely, often they can be replaced with more creative choices.

* Quantifiers

Really, very, all, big, little, many, some and “a lot” are overused and don’t add much to a sentence. The trick with descriptions is to find the exact word or phrase that will paint a picture in your reader’s mind. “Uncle Bill was very tall” does not give the reader any valuable information. But if you provide a point of reference, the reader can visualize Uncle Bill’s height: “Uncle Bill was so tall that when Jessie stood on a chair she could barely see his whiskers.” This not only tells the reader exactly how tall Uncle Bill was, but it also mentions another physical element–his whiskers– which makes him more interesting.

Sometimes eliminating the quantifier will make the sentence more powerful. “Sara stood at the bus stop. She was very cold.” The word very is not necessary and delays the reader from getting to the essence of the sentence, which is that Sara is cold.

*Telling Instead of Showing

“Like”, “as if” and “seemed” can make writing sound passive instead of active. “Tom picked up the puppy, who seemed as if she was afraid.” This is lazy writing, because the author relies on the reader to fill in what “afraid” means. “The puppy was curled up in a corner of the sofa. When Tom picked her up, she let out a soft whimper. He could feel her trembling as he held her close to his chest.” By giving concrete details, the author shows the reader exactly how this puppy acts when she is afraid.

One word many authors rely too heavily upon is “felt”. How a character feels should be evident from the surrounding text and dialogue. If the author has to tell the reader that Max feels happy, then the rest of the text is not working as hard as it should be. Show how Max is happy (maybe he’s turning cartwheels on his way home from school), and let the reader draw his own conclusions.

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about writing children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com

Click here to return to the index of Articles

Eight Book-Generated Empires You Can Learn From

Building an empire may sound overly ambitious, but it’s certainly possible. It has been said that in order to “get big,” one has to think big. Below are a few authors that have started their own revolutions. Each author listed has used different strategies to grow their platforms: radio interviews, television appearances, speaking engagements, publishing more books, producing more audio programs, developing creative products—whatever it took to build their enterprises. And none of them are stopping—they continue to build their platforms because it is a fundamental part of who they are.

Take a look at their empires. Read their websites. Inspect their books, products, and services. Dream big.

Robert Kiyosaki, “Rich Dad”: Mr. Kiyosaki has developed an impressive empire with over 20 books within the Rich Dad, Poor Dad series [Rich Dad, Poor Dad (Warner Business Books, 2000), the flagship book, has sold over 20 million copies and spent over 200 weeks on the NYT bestseller list]. He has even developed teams of professionals that leverage the Rich Dad brand, giving seminars, coaching, and training across the globe. Check out: www.richdad.com.

Ken Blanchard, “One Minute Manager”: Coauthor of The One Minute Manager (William Morrow & Company, 1983) with over 17 million copies sold, Mr. Blanchard has developed a highly successful training and development enterprise around the success of his 30-plus business books. Check out: www.kenblanchard.com.

Stephen Covey, “Seven Habits”: Mr. Covey’s Covey Leadership Centers generated over $100 million leveraging his books, The Seven Habits of Highly Successful People (Free Press, 1990) and Principle-Centered Leadership (Free Press, 1992) as their brochures before merging with Franklin Quest to create Franklin Covey Company. Check out: www.franklincovey.com.

Tom Peters, In Search of Excellence: Since the former McKenzie consultant co-authored In Search of Excellence (Warner Books, 1998) in the early ’80s, he’s become a celebrity, authoring books, producing audio programs with Nightingale-Conant, commanding speaking fees of over $60,000, acting in commercials, and operating a monster consulting firm. Explore at: www.tompeters.com.

Deepak Chopra, “Seven Spiritual Laws”: Combining Ayurvedic medicine, spirituality, and his formal medical training, Dr. Chopra has authored more than 35 books and 100 audio, video, and CD-ROM titles (which have been translated into 35 languages with over 20 million copies sold). Dr. Chopra speaks worldwide and has leveraged his brand to build the Chopra Center for Well-Being and his own line of herbal teas, supplements, and oils. (His enterprises bring in more than $15 million annually.) Check him out at: www.chopra.com.

Jack Canfield and Mark Victor Hansen, “Chicken Soup for the Soul”: With over 90 million Chicken Soup for the Soul books sold in North America alone and over 100 licensed products in the marketplace, Chicken Soup for the Soul is one of the most successful publishing franchises of our time. Check out: www.markvictorhansen.com and www.jackcanfield.com

Tony Robbins, “Personal Power”: The “late-night infomercial king” has definitely created an extraordinary empire, with two international best-selling books, over a dozen audio programs, and a seminar business that generates $50 million annually. Check out: www.tonyrobbins.com

John Gray, “Mars & Venus”: Dr Gray has sold over 30 million copies of his relationship classic, Men Are from Mars, Women Are from Venus (HarperCollins Publishers, 1992), and has written 14 follow-up books. Mr. Gray also provides counseling and coaching; produces audio programs on relationships and the differences between men and women; is an international, in-demand speaker; and has a team of moderators that facilitate seminars nationwide. Check out: www.marsvenus.com

The above article is an excerpt from an e-book exclusively available through Everything You Need to Know to Become a Best-Selling Author.

Article Source: http://www.redsofts.com/articles/

About Scott Jeffrey

With an impressive client list including New York Times best-selling authors, speakers, and consultants, Scott Jeffrey is renowned for his ability to guide each client’s journey to the impossible—crafting their own adventure, zealously following their bliss and discovering their unique, meaningful contribution to the world. Scott is the master strategist behind Creative Crayon, LLC, a world-class strategic coaching enterprise and consultancy.

Scott is the author of Journey to the Impossible: Designing an Extraordinary Life, a Benjamin Franklin Award finalist, as well as the interviewer in the 10-CD audio program, Everything you Need to Know to Become a Best-Selling Author. He was the editor of Impossible Journeys.

Scott and his four-legged hiking companion, Yoda, reside in the mountains of upstate New York.

Find out more at http://www.bestsellingauthor.com

Click here to return to the index of Articles

Effective Fiction Research

The question of why research should be a part of the craft of writing fiction I’ll leave for another article. Suffice it to say, there are three reasons at minimum to include the skill of research in your craft. The first and second reasons require an understanding of the reader. It may or may not be surprising to learn that far more non-fiction titles are published and sold every year than fiction. And this should tell you that readers would actually rather be educated than entertained (it may also say something about the quality of the entertainment being sold, but that’s a soap box I’ll resist from stepping atop at the moment). Thus, if you can educate your reader while entertaining them, then you may be able to broaden your readership. Secondly, readers demand a certain level of credibility or authority from their authors, with whom they will be spending so much intimate time.

The third reason requires an understanding of you, the author. Very few of us may be gifted with an imagination of, say, a Stephen King or a Dean Koontz. Everything we need to craft our story may not be stored upstairs. We may and usually must venture outside of our mind to find the raw material to build our worlds, characters, and plots. And truth be told, even if you were King or Koontz, you too might be caught doing your homework from time to time. Research is a core skill of the novelist if for no other reason than to inspire.

So assuming research is, in fact, going to be a tool in our bag, then how can it most effectively be used?

The first thing to understand is that research for fiction can be subtly different than for non-fiction. And the difference ties back to the three reasons for researching fiction in the first place. Fiction is not held to the same standards as non-fiction. Absolute truth is not the goal of the fiction author, nor the expectation of the fiction reader. Metaphoric truth, however, is. As such, there is no requirement to support the research or defend it. In fact, the best fiction is to be written such that the research is invisible to the reader.

With that understanding it may be easier to think of the fiction research method as being more organic, less structured and academic. The whole exercise is really directly for the author’s benefit and no one else’s. The indirect benefit to the reader comes in the form of a credible and densely written story that engages her both intellectually and emotionally.

Therefore, the methods for effective fiction research are as varied and unique as are the authors. For me, I must first develop a premise founded on a rich theme or themes before I can begin to dive into the research. Once I have my premise, though, I begin by identifying the broader subjects that I’ll need to explore for both credibility concerns and for story inspiration. I then give myself a crash course on each subject, assimilating what I learn, what inspires me, and what ideas come as a result. At times this can all be accomplished through reading books, journals, magazines, etc. Other times I must interview subject matter experts, travel to specific locations, or even try a particularly new and foreign activity. Do whatever is required to fill in the gaps in your own knowledge while also following your instincts. If something intrigues you, stumps you, or, heaven forbid, keeps you up at night, then by all means explore to your heart’s content.

I mull this material over and over in my mind until I make it a part of my own experience. Then when it’s time to write I find that the material I’ve gained is there at my fingertips and it comes out naturally in what I say. And this is because I’m not lecturing to the reader, trying to teach them, or even preach to them. I’m just talking to them, telling them a story that also happens to relay a message that has become important to me during my research phase.

To give a simple example, during the writing of my first novel, Cryptid: The Lost Legacy of Lewis & Clark, I realized that in order to make my premise work I needed to graft my story into the history of the reader’s own world. I felt this would be the best way to suspend the reader’s disbelief while they read a thriller that had Sasquatch ravaging the characters in the dark woods of the Olympic National Park. I happened to be reading Stephen E. Ambrose’s Undaunted Courage at the time. Specifically, I had come across entries from Lewis describing their first close encounters with the grizzly. And bingo, just like that, I had found my answer. I could introduce into my story lost journals of Lewis & Clark that described their close encounters with Sasquatch. Because of research, two subjects that appeared to be unrelated now became integral to my plot.

The most difficult thing to learn and accept about the craft of researching fiction is that the process is essentially organic. So your method of research will differ from mine.

It requires faith in yourself and in the craft. All you can do is take that first step. Start by going to the library, surfing the web, or interviewing your ninety-year-old grandmother. And then have the courage to let the research lead you where it may. After all, research is what insures that the readers don’t have all the adventures.

The question of why research should be a part of the craft of writing fiction I’ll leave for another article. Suffice it to say, there are three reasons at minimum to include the skill of research in your craft. The first and second reasons require an understanding of the reader. It may or may not be surprising to learn that far more non-fiction titles are published and sold every year than fiction. And this should tell you that readers would actually rather be educated than entertained (it may also say something about the quality of the entertainment being sold, but that’s a soap box I’ll resist from stepping atop at the moment). Thus, if you can educate your reader while entertaining them, then you may be able to broaden your readership. Secondly, readers demand a certain level of credibility or authority from their authors, with whom they will be spending so much intimate time.

The third reason requires an understanding of you, the author. Very few of us may be gifted with an imagination of, say, a Stephen King or a Dean Koontz. Everything we need to craft our story may not be stored upstairs. We may and usually must venture outside of our mind to find the raw material to build our worlds, characters, and plots. And truth be told, even if you were King or Koontz, you too might be caught doing your homework from time to time. Research is a core skill of the novelist if for no other reason than to inspire.

So assuming research is, in fact, going to be a tool in our bag, then how can it most effectively be used?

The first thing to understand is that research for fiction can be subtly different than for non-fiction. And the difference ties back to the three reasons for researching fiction in the first place. Fiction is not held to the same standards as non-fiction. Absolute truth is not the goal of the fiction author, nor the expectation of the fiction reader. Metaphoric truth, however, is. As such, there is no requirement to support the research or defend it. In fact, the best fiction is to be written such that the research is invisible to the reader.

With that understanding it may be easier to think of the fiction research method as being more organic, less structured and academic. The whole exercise is really directly for the author’s benefit and no one else’s. The indirect benefit to the reader comes in the form of a credible and densely written story that engages her both intellectually and emotionally.

Therefore, the methods for effective fiction research are as varied and unique as are the authors. For me, I must first develop a premise founded on a rich theme or themes before I can begin to dive into the research. Once I have my premise, though, I begin by identifying the broader subjects that I’ll need to explore for both credibility concerns and for story inspiration. I then give myself a crash course on each subject, assimilating what I learn, what inspires me, and what ideas come as a result. At times this can all be accomplished through reading books, journals, magazines, etc. Other times I must interview subject matter experts, travel to specific locations, or even try a particularly new and foreign activity. Do whatever is required to fill in the gaps in your own knowledge while also following your instincts. If something intrigues you, stumps you, or, heaven forbid, keeps you up at night, then by all means explore to your heart’s content.

I mull this material over and over in my mind until I make it a part of my own experience. Then when it’s time to write I find that the material I’ve gained is there at my fingertips and it comes out naturally in what I say. And this is because I’m not lecturing to the reader, trying to teach them, or even preach to them. I’m just talking to them, telling them a story that also happens to relay a message that has become important to me during my research phase.

To give a simple example, during the writing of my first novel, Cryptid: The Lost Legacy of Lewis & Clark, I realized that in order to make my premise work I needed to graft my story into the history of the reader’s own world. I felt this would be the best way to suspend the reader’s disbelief while they read a thriller that had Sasquatch ravaging the characters in the dark woods of the Olympic National Park. I happened to be reading Stephen E. Ambrose’s Undaunted Courage at the time. Specifically, I had come across entries from Lewis describing their first close encounters with the grizzly. And bingo, just like that, I had found my answer. I could introduce into my story lost journals of Lewis & Clark that described their close encounters with Sasquatch. Because of research, two subjects that appeared to be unrelated now became integral to my plot.

The most difficult thing to learn and accept about the craft of researching fiction is that the process is essentially organic. So your method of research will differ from mine.

It requires faith in yourself and in the craft. All you can do is take that first step. Start by going to the library, surfing the web, or interviewing your ninety-year-old grandmother. And then have the courage to let the research lead you where it may. After all, research is what insures that the readers don’t have all the adventures.

Article Source: http://www.redsofts.com/articles/

Eric Penz is the author of Cryptid: The Lost Legacy of Lewis and Clark. Visit his Web site to learn more, http://www.ericpenz.com

Click here to return to the index of Articles

Effective Editing: It Spells the Difference!

If you think proofreading equals editing, then you're wrong! Editing is a lot more than just scrutinizing your manuscript for misspelled words or missing punctuation marks. As a whole:

• Edit only *after* you've written the *whole* piece. If you stop to edit after every paragraph or sentence, you will disrupt the flow of your thoughts.
• It is better to take a break before starting to edit a long manuscript so you’ll have a fresh perspective.
• Revise only *hard copy* especially if your manuscript is quite long. Revising from a monitor is confusing.
• Verify the spelling of names, figures, dates, and addresses. These are the most murdered items in manuscripts!
• Be sure of what you put between those quotation marks! Otherwise, rephrase the line and omit the quotation marks.
• Did you follow the writer guidelines? e.g., number of words required, font/font size specified, spacing, margins...

Edit your content:

• Be sure that you did not stray from your topic. Are your paragraphs coherent?
• Did you fulfill your purpose for writing that piece? Is your entertainment feature article entertaining enough? Did your personality sketch bring out your subject's unique and distinct qualities?
• If necessary, did you provide enough supporting data (graphs, charts, figures) for your piece?
• If applicable, did your article answer the 5 Ws and H? Who, what, why, were, when and how.

Edit for tightness:

• Remove redundant and useless words.
• What about diction? Did you use the right word to express what you mean? For example, "He stared at her" is more intense than "He looked at her." "Devour" is not the same as "eat."
• Did you vary the length of your sentences? Combining long with short sentences makes your article easier and more natural to read.
• Did you check that the body of your article is longer than the introduction (lead)? Some writers get carried way. They focus on an effective lead to hook the readers but neglect the body of the article!

What about tone and style?

• Does your work reflect your writing style or does it sound like a copied work?
• Did you use the active voice? Are you consistent with the point of view you used?
• Do your title and the words you used match the tone of your piece?

Copyright © 2004 Lizzie R. Santos (This email address is being protected from spambots. You need JavaScript enabled to view it.)

Article source: http://www.superfeature.com

Lizzie writes features, literary pieces, radio and comics scripts, and school supplemental reading materials. She is the author of two print books. Her e-book, Appetizers for Creative Writers: A Workbook for Writers, is published by iMusePub.com and it's at http://imusepub.com/lrsantos-1.php

Click here to return to the index of Articles

Editing Secrets

Once you’ve plotted out your book, developed the characters and written the last word of text, the real work begins. As busy editors are bombarded with hundreds or even thousands of submissions a year, it’s more important than ever that authors apply their own editing skills to their manuscripts before putting them in the mail. Checking your basic grammar and spelling are of course important, but authors need to go beyond surface editing if their work has a chance of catching an editor’s eye.

* Trim, tighten, hack away. First, second and even third drafts of manuscripts are almost always laden with extra words and scenes. Take a break from your book and then read it through with a fresh eye. Write down your theme in one sentence (what the book is about, such as working through shyness on the first day of school or showing how Thomas Edison’s childhood experiences influenced his adult life). The plot (or progression of facts and events in nonfiction) is your vehicle for conveying the theme to the reader. Ask yourself if each character and scene advance the plot toward communicating this theme. And decide at the beginning that you will give up your precious words and finely-crafted scenes for the betterment of the book. Pithy dialogue may be fun to read, but if it pushes your story off track, it’s just a literary dead end. Take the publishers’ suggested word limits seriously: no, you don’t really need 3000 words to tell your picture book story about Freddy the Frog’s adventures in the Big Pond.

* The elements of speech. Well-crafted dialogue can be a writer’s most important tool. Dialogue is not just there to break up the paragraphs or show that your characters know how to talk; ideally, it adds to character development, moves the plot along and replaces sections of narrative. Each character should sound like himself, with speech patterns and phrasing that are unique. This is especially true with talking animal books. I see many of these manuscripts where, if I took away the words that identify the speakers, each character would sound exactly the same. Don’t have dialogue repeat the narrative and vice versa; “Did you hear that? Someone’s at the door!” does not have to be preceded by “They heard a sound at the door”.

* Show don’t tell. How many times have you heard this? It’s still true. Comb through your manuscript for sentences that tell the reader how a character felt (Sara was sad) and replace with sensory descriptions (Hot tears sprang to Sara’s eyes and rolled down her cheeks.) Avoid telling the reader what to think about the story (Jason foolishly decided to trust Mike one more time.) Instead, present your character’s actions and decisions to the reader, and let the reader draw his or her own conclusions (incidentally, this is how you “teach” without preaching).

* Wipe out passive writing. Search for verbs preceded by “would” (would go, would sleep, would eat) replace with the past tense (went, slept, ate). Also look for actions that seem to happen out of thin air. “The door was opened” is passive, because the sentence lacks a “doer”. Remember, the reader needs to visualize what’s happening in the story. “The wind blew the door open” is better, because the action can be attributed to something, and it puts the most important element (strong wind) at the beginning of the sentence. Simply rearranging the words (“The door blew open from the wind”) puts emphasis on a door that won’t stay closed, making that the subject of the sentence.

* Be precise. One of the best ways to make your writing come alive for the reader is to use exact nouns, verbs, adjectives and adverbs. One well-chosen word is always better than three vague ones. Adjectives like big, little, cold, hot, beautiful, scary and silly; adverbs such as quickly, slowly, loudly, and softly; and general verbs like walk, went, stayed and ate don’t draw a vivid picture for your reader. Of course, sometimes these words are appropriate, but try as a rule choosing words that describe specifically what you want to communicate. Words that sound and look interesting are also a plus. Tremendous, tiny, frigid, scorching, plodded, sauntered and gulped are more fun to read, and they each lend an emotional overtone to the sentence (if your character gulps his food, you don’t have to tell the reader he’s in a hurry).

And finally, make sure there’s a logical cause and effect relationship between the scenes of your book. Each event should build upon the ones that came before. The plot should spring intrinsically from your characters; nonfiction should unfold because of the nature of your subject and your slant on the material. It’s when everything comes seamlessly together that you have a winning book. Make it look easy, but don’t skimp on all the hard work it takes to get there.

Laura Backes is the publisher of Children's Book Insider, the Newsletter for Children's Writers. For more information about writing children's books, including free articles, market tips, insider secrets and much more, visit Children's Book Insider's home on the web at http://write4kids.com

Click here to return to the index of Articles