Ah! April of 2020! With corona quarantines, for us writers (especially you Camp NaNoWrimers) the only type of write-in most of us are attending these days is virtual.
Now, I don’t know how your write-ins work, but these are the guidelines I follow, to get the most out of any write-in — virtual or not.
Some write-ins are just people sitting there, online or not, typing away. But, most of the ones I’ve hit (maybe because this ambivert is a social creature) tend to be a mixture of social and writing.
5 Tips To Get The Most Out Of A Write-In
Pick a modest goal
You’re here to write. And socialize. Sure, you can ignore the other people, but if so, why are you even there? (Okay, it’s probably peer pressure, to keep on track. No shame there).
Most of the write-ins I’ve attended, I’ve ended up spending about half the allotted time writing, and half the time socializing (or being weirded out at how super quiet it was, then falling down the rabbit-hole of research or cleaning up my google drive folders).
Long story short — expect to get as much writing done during 2 hours of a write-in as you would during 1 hour by yourself.
Break your goal into discrete tasks
My most productive time at write-ins tend to be during writing sprints. Someone will set a timer and then we’ll write for 10-20 minutes. After, we’ll chat, get snacks, then refocus and go again.
How I make sprints work for me is I pick a discrete task: – create a list of names for characters – edit the rest of this chapter – find out how long it takes to travel from Loxley to Sherwood – decide what the next scene will be about – write that scene – write the dialogue
You get the point. Something zoomed in and focused. Maybe it’s 50 words, maybe it’s 500. Set a goal that’s within your reach.
Make that peer pressure work for you.
If you’re the person who likes writing/editing more words than you did last time (or at least not dropping below your average), race yourself.
If you’re the person who likes writing/editing more words than other people, try to best the rest of the group (or at least beat the person you were closest to last time.)
Embrace the breaks
You’re at a write-in to write — but also to socialize, to network, to make friends (and potential critique partners). You’re there to hang out with people who understand why getting the story of some imaginary people RIGHT matters so much to you.
Accept that the time won’t be 100% on writing, and welcome the friends you can make.
Make Sure Your Equipment Is Ready
If you’re in person, make sure you’ve brought everything you need — be it pen and pad, or laptop, power cord, extension cord, and mouse.
If it’s a virtual write-in, test your microphone — and if needed, your video camera — ahead of time. Adjust the lighting, the equipment, your setup location for comfort — and productivity. Make sure you know how to use the app and that you’ve got the time right, or you’ll lose time you don’t want to tech support.
In both places, you may want a drink and a snack. (Or maybe that’s just me.)
Even if write-ins weren’t your thing, if you’re feeling isolated, you may want to try them again.
If you’ve never attended a write-in, or had a bad experience, try it again. With the write right group, it could be exactly what you need.
Do like write-ins? Do you hate them? Tell me about your write-in experiences!
Have you ever gotten feedback from someone who you respect, saying they hated your work? They liked the idea, but think you should have done it a completely different way?
No? Just me?
Recently, I submitted a couple of short stories to different markets, but after a pair of quick rejections, I sent them to friends for another look. Most of the feedback was along the same lines, so I looked at what I could fix and what I couldn’t.
But for the reader who hated the story? We sat down and talked about what they did and didn’t like about the story.
The real issue was the set-up — it was a horror/suspense sort of story and I was giving away too much too soon.
That was entirely in line with other feedback I’d had, although more precise in what parts worked, versus what parts should be changed.
So? I sat on that for a week. I pouted. I thought. I considered if these were even changes I wanted to make.
But my knee-jerk reaction (for once) wasn’t “they don’t get my story”, it was more of a, “I don’t wanna!” mixed with “How do I do that? While making sure the ending is still properly supported” (i.e. doesn’t seem to come out of nowhere).
Last night? I sat down to start on the changes, taking out the heavy foreshadowing (easily found in italics, on their own lines). And replaced those instances with more subtle hints at what lay ahead.
Fifteen minutes later? I was done.
I still need to do a re-read, to make sure the updates are smooth. I still need a second set of eyes (maybe fresh ones to make sure the ending wasn’t too abrupt), but this huge change? That seemed like massive structural issue?
With a few short line changes, I fixed it.
Remember when setting something up in your writing, be it foreshadowing, backstory, world-building, or more — oftentimes, less is more. You only need enough to spark the imagination and flesh out the world. Not enough to slow the story.
Have you ever been intimidated by a suggested change you agreed probably needed to happen in your work?
Were you ever surprised at how little you needed to change your story to make a completely different impression on the reader?
As January firmly establishes itself, I’m finally ready to talk about what 2020 is going to look like for me.
Last year was intended to be a year of reading, revision, and reflection.
Thusly, I listed my goals:
As I shared last week, I did great on everything on that list — except my revisions and querying — you know, the parts of the list that actually get me closer to publication. Does anyone else see the problem here?
This year? This year my focus is on revisions and querying/submitting.
As always, I like to set SMART goals –
Specific – you’ll see numbers and dates!
Measurable – you’ll still see numbers and dates
Achievable – I set goals for things I have influence over. I’m aiming for an agent, getting something published, but unless I self-pub, I have no control over that.
Relevant – I’m keeping my exercise goals and healthy eating off this post. These are all about my writing, the relevance should be clear.
Time-sensitive – Obviously, these are intended to be completed in 2020, but some items may have specific dates associated.
So? Let’s take last year’s list and put it in a new priority order.
Last year’s goal of revising 3 full manuscripts was… ambitious. I clearly was thinking more about what it takes for me to edit (clean up a draft) than about what it takes to get feedback from others, integrate it, and polish the draft till it comes out in my voice.
The manuscript I had ready for querying last year is in the middle of revisions with my wonderful mentor. But? The mentorship officially ended last April, and, although she generously volunteered to keep at it with me, she has paying work that, of course, comes first. So? We’re working through my novel 30 pages at a time.
My hope is to have the revisions done by the end of May, when I hit Balticon. But, life happens. So, what can I do to speed up the process on my end? Make sure that the next 30 page chunk is as ready to go as I can make it before I get feedback from the previous section.
I’m cutting a secondary character’s role in the last 3rd of the journey, and changing the nature of the last leg of the journey quite a bit, so I already know a large part of the plotting changes. Plus, my mentor keeps reminding me to add visuals. As I’ve said before, I worry about what’s in the character’s head and the action. I forget people want to see the world itself. So, that’s my revision priority.
But, of course, there’s going to be some downtime.
To fill that in, I’ve been nudging my alpha reader who has my middle-grade contemporary fantasy (the school play story) and should hear back in the next week or so.
Also? Last year also included writing some short stories and some poetry. Between revising my middle-grade story and getting those shorts and poetry ready for publication, I’ve got a lot to work on.
2. Querying & Submitting
If you haven’t tried to get your work published before, this item might seem confusing. What’s the difference?
Querying is a intro-letter and first chapter or so that you send to a literary agent. Once you have an agent, they often make you do revisions, before submitting your work to a publishing house.
Why do you need an agent? There are many publishing houses that do not accept unagented work. Agents understand what your contract should look like and what is negotiable. Plus? The agent’s job is to know the market — and thus know what your book needs in order to best sell it — and to whom. Typically, you query 5-10 agents at a time.
Submitting a manuscript/short story/poem is what you can do to any editor/publisher who is open to it: publishers (who are open to unagented work), literary magazines, anthologies, etc.
When you’re sending a cover letter and your story to the place that will actually print/publish the piece, it’s called a submission. Typically, submissions are exclusive (unless the guidelines state otherwise), so you have to wait to hear back before you can send to another publisher.
This year, for my short stories and poetry, I’m going to try to get at least 5 stories ready for publication and submit them to at least 10 markets. At least half of those submissions should be before July, just to make sure I don’t forget to put myself out there.
With you, I’m finding an audience and, I hope, creating a community. You are the people whose queries I help polish as you look for an agent, whose books I add to my massive to-read pile, the people I feature in my Author Spotlights. Blogging puts me out there, keeps me accountable, and gives me a way to give back to the community.
Plus? I haven’t missed a week on my blog since February of 2016 (although, I have done reruns) nor a vlog-post since I started vlogging on June 27, 2017. So? I’d hate to break my posting streak! Thus, I’ll continue putting out a new blog/vlog every Thursday with writing tips or writerly musings.
I’m already off to a great start with this, but when I have them lined up, I’ll also be sharing Author Spotlights or Query Corners on Tuesdays.
I’m thinking of adding some Authortube videos of my massive to-read pile, or maybe an occasional brief weekly check-in since those were popular during NaNo. I just need to find a time that works every week for those, so I can schedule them in advance and make them interactive.
I did great on this one last year, but I’m not gonna look a gift horse in the mouth. I had a lot of travel, and managed to hit 41 books, but there’s no guarantee this year will as generous. I even managed to read a decent amount of physical books — but a lot of those were new or re-reads. Not as many from my to-read pile as I’d like to admit.
So? I’m keeping my goal from last year of reading 26 books – a little more than two a month. This time? At least 10 of them should be physical and ALREADY on my bookshelf.
So far? I finished a short story collection I bought over the holidays AND read a book that’s been with me since before I moved. Not a bad start!
Yet again, writing is so far down my list!
I can hear your thoughts, your concerns. What’s wrong, Morgan? I thought this was your writing blog. Why isn’t this more writing focused? Do you want to be a blogger/vlogger more than a writer?
Well, first? Rewriting IS writing, and revisions are tops on my list. The goal is publication and I’ve got 4 manuscripts, 21+ short stories, and 30+ poems just waiting for a home.
More writing right now just means a larger backlog of things to be polished.
But! Never fear, I will be doing OctPoWriMo again — writing a poem a day for all of October. And then NaNoWriMo — writing 50,000 words in November. If I’m really stumped in November, I’ll rebel and revise either 5 shorts or a full manuscript. But, knowing me, I’ll probably make new words.
6. Beta Readers
I’ll be reaching out to beta readers as I wrap up my revisions on my middle grade novel, hopefully before August. Last year’s goals of having revisions of two different manuscripts done by May AND July were unrealistic.
As always, I like to keep my beta reader pool to no more than 8 readers, typically from different backgrounds. I usually give them separate copies, so that their feedback won’t influence each other.
I’m considering joining a local critique group and feel that short stories work much better in those venues than a full manuscript. Especially since I’m more interested in feedback on my pacing and characterization than the chapter itself. I guess it’s arrogance, but I think I know where my problem points lay.
On the flip-side, I’m now a contributing editor to The Oddville Press, an online literary magazine of odd, but not really fantastical tales. I’m also a regular beta-reader for my dad (who’s retired from a day job and enjoys filling my inbox). Not to mention, I have a few critique partners, and writer friends who have been known to reach out for feedback. I will try not to commit to more than 3 full length betas this year.
Actually, maybe I should have changed the name of this goal. This should be all the in-person writing goals. I aim to attend 6+ open mic nights, 4+ monthly writer meetings, try a critique group, and 3 NaNoWriMo events (kickoff, 1 write in, and the all-nighter till 11pm). Plus? Two+ conventions.
I intend to hit Balticon again (May) and — if everything works out — WorldCon (August) in New Zealand (!!). I submitted to be a panelist at Balticon again… and this time was accepted! And? I think they approved the panels I suggested (topics from this blog that I feel I can talk competently on, and that my unpublished perspective won’t be a detriment to my authority on the subject).
How do I know they approved them? They recruited me to be on their Programming team! (Apparently, after attending nearly 30 panels a year for the last 5 years, they suspected I might have opinions about what makes a good panel and who are the good panelists.) So, that’s another time commitment.
What does being on panels net me? Why do I want to do this?
First, it’s a greater reach for my blog and vlog. Plus, a larger audience when I do get published. Hopefully, a way to make more friends and supporters. Plus, a chance to talk about all the stuff I obsess over on my blog and on my vlog in person with actual people.
But how does attending conventions count as a writing goal? Isn’t it just fun?Or part of your social media addiction?
Well, if you’ve been following my blog, you’ve probably noticed that over half the content is actually write ups from notes at convention panels! I attend the panels, for those who can’t (or don’t). Also? My sister teases me that I act like a teacher, trying to get her recertification credits, all in one weekend.
And? Well, I talked about it in my post on attending conventions, but, of course, there’s the networking aspect. The science-fiction and fantasy conventions I prefer are full of readers, writers, and even some publishers and agents!
As is becoming my trend, the first part of my year will be focused on revisions, the middle on conventions, and the end on writing. Plus, I’ll be reading and blogging and vlogging throughout the year.
Except December. I’m not a writer in December — everyone needs a chance to breath.
We’ll have to wait until next January to see if I had 2020 foresight.
Some people work with partners. And some people like to work with their romantic partner. But whether you’re romantically involved or not, there’s techniques that could work for you.
At WorldCon2019, Heidi Goody led the working couples of Peter Morwood and Diane Duane, plus Delia Sherman and Ellen Kushner in discussing how to maintain working and romantic relationships — with the same person.
Maintain Separate Offices
In rural Ireland, Duane’s office is the living room and Morwood’s is the second bedroom.
When they’re working on a project together, they stay in their room and don’t talk. When it’s time to fraternize or collaborate, they meet in the kitchen.
In New York City, Sherman and Kushner mostly write separately — by hand — in their studies on opposite sides of the apartment. (They left Boston because they were “tired of being the most colorful couple in the room.”) They like to take long walks and discuss character building, writing theory, or whatever they’re working on.
Both couples find it hard to stop talking shop, but Sherman and Kushner find it helps to have other passions.
Duane and Morwood’s biggest interruptions are the neighbor’s loud sheep. Known to the neighbors as “The Trekkie’s”, they’re considered boring because they don’t raise sheep or horses.
How Their Writing Partnerships Began
On Morwood and Duane’s honeymoon, her book was late, so they wrote it together. It helps that Duane is a big outliner, especially for screen. As she says, screen writing is very formulaic.
For Sherman and Kushner, a year or so after they moved in together, they learned to negotiate through writing. But for them, it is the ‘Spirit of Fun!’ Like playing Barbies together.
Sharing Drafts and Blending Portions
Some people consider their drafts sacred, others see theirs as horrible piles of —
Duane never shows her rough draft to another human soul. The next draft though is fine.
Morwood doesn’t count how many drafts he goes through. As he says, “I’m a professional.”
Sherman and Kushner typically have interweaving plotlines, with Kushner woking on the more social scenes, while Sherman works on the academic ones (when they started collaborating, she had just graduated and had scores to settle.)
When writing each other’s characters, the other keeps the veto power. They do their best to keep personal ego out of the story — only really argueing over semicolons.
When it comes time to edit, Sherman reads aloud to Kushner, her bits and the printouts. Although, Sherman is stronger on description, while Kushner does dialogue, when they revise drafts, they overwrite each other. By 5 drafts in it’s fully blended.
Morwood and Duane work together similarly. Plus, they’re pretty good literary mimics. One usually has veto power. Duane is best at plotting and screen writing. Morwood has veto power on fight scenes and tactics.
Just remember when collaborating, there are competing needs for validation, love, and “listen to MY story.”
Music to Collaborate to?
Duane stopped listening to music — it interfered with her dialogue. But movies work fine for her as background.
Kushner used to listen to music, although it couldn’t be in English or had to be something she knew inside and out. Now, she writes at home in silence.
Morwood listens to tons of things, but turns off his Audible when writing dialogue. He likes to have Dragon Naturally Speaking play back his dialogue to him.
Sherman and Duane both like to write in cafes, with that background chatter, gathering faces for characters. If Sherman can’t have that, she needs complete silence.
When deadlines are piling up, Duane will go to a friend’s flat in the middle of no-where-Switzerland for weeks, while Kushner will head off to a friend’s house. The change of location helps with productivity. No chores — or partner — around to distract.
Collaboration can be a tricky beast. Have you worked on a collaborative work? What techniques worked best for you?
Have you worked with a romantic partner? Did it strain your relationship?
Some books are straight up romances, some have no romantic dealings at all, but for everything in between, they’ve probably got a romantic sub-plot (or two) simmering in the background.
At WorldCon2019, PRK, Kate Johnson, Darlene Marshall, and Elliot Kay shared their tips for creating a successful romantic subplot.
The Rules Of Romance
Romance might get a bad rap in some circles, but romance is what keeps publishing in business, and it’s the mother of all genres when you look at sales.
Romance novels come in all stripes and colors, but they have two things that unify them:
The love story is central to the plot – i.e. the plot doesn’t work without the romance
An optimistic ending – these days, it doesn’t have to be happily ever after, but it needs to be happy-for-now, or at least romantically satisfying
The typical plot of a Romance novel is predictable
The romantic partners come together
Something separates them
They come together again
There’s a black moment when we think all is lost
Then, there’s the optimistic/happy ending!
We know the plot of a romance novel, what makes them enjoyable is the journey.
There are certain tropes that some people love to see over and over again. While other tropes are things that have been done to death — or are only enjoyable when there’s a fresh twist.
Our panelists shared a few of their favorites
Enemies to lovers/Friends to lovers – i.e. Shards of Honor by Lois Bujold
Alpha male – but easy to over do
Flipping gendered expectations
Note: This includes romances that aren’t heterosexual, or cis-gendered, or have more than two partners. – i.e. Starless by Jacqueline Carey, and KJ Charles’s work.
Both main characters are out to get the same things,\ and keep bumping into each other.
When the love interest redeems THEMSELVES, after seeing their flaws reflected back at them. i.e. Pride and Prejudice, Jane Eyre
And least favorites:
No communication. The romance just happens!
This leads to readers forming unhealthy expectations about their relationships!
Also! If the plot hinges on a misunderstanding that could be fixed with 3 minutes of conversation (that would be normal to do in this situation), it’s a bad plot.
They’re only mean because they likes you
She’s here to redeem HIM
Killing her to provide motivation for the main character to grow
Writing Good Chemistry!
They didn’t give us too many tips. Just: if it’s fun for you (as a writer) and it works emotionally for you… it should be fine!
Chemistry can be sexual and/or romantic. In real life, asexual (Ace) people sometimes are interested in romance, even when they’re not interested in the X-rated stuff. So, characters can be written to reflect reality.
Communication and consent are key! When both characters are eager to take the next step, the relationship should blossom.
Claire O’Dell’s Janet Watson Chronicles
JD Robb’s In Death series
Neil Gaiman & Terry Pratchett’s Good Omens
Seanan McGuire’s Every Heart A Doorway
The Romantic Subplot Doesn’t Have To Work Out
Even in romance novels, there can be secondary romances that don’t work out.
Short term relationships
Breakups, where it just didn’t work
Chick-lit has tons of this. You’ll see the main character with tons of bad — or at least not right for her — partners.
Speaking of other genres, these days, it can be tricky to tell if you’re reading a romance or not — especially when you wade into the urban fantasy and paranormal romance corner. Kate Johnson shared her secret trick for determining, just by the cover, which is which. The paranormal romance has a topless guy on the cover, while the urban fantasy has a tattooed chick on the cover.
When she told us that, I closed my eyes and pictured the books on my shelves, and burst out laughing. She’s got it right.
If you want to write more diverse characters, read #ownvoices works, research, talk to people who can share their lived experiences (don’t make assumptions), and pay sensitivity readers!
Write the book you want to write, your tropes will dictate the marketing.