When I pondered what to write about for this month's theme of "Best writing hacks ever," it occurred to me that better minds than mine have probably made lists and offered suggestions on the topic. I decided to do a little search and see what I could find. As you might imagine, I found plenty! Without further ado, here is a random compendium of offerings from the vast world of the internet, in ever-ascending numbers of suggestions per list... From Learn How to Write a Novel: 3 Hacks to Write a Rough Draft , by Michelle Griep From Freewrite: 6 Neuroscience Hacks to Beat Writer's Block (This one includes additional links to articles in Psychology Today , The Guardian , etc., about writing and writer's block.) From Positive Writer: 6 Weird but Awesome Hacks for a Happy Writing Life , by Shanan Haislip From Lifehack: 8 Great Writing Hacks Every Creative Writer and Blogger Should Know , by Ivan Dimitrijevic From The Writing Cooperative: 12 Writing Hacks Yo...

As an editor, I occasionally run across writers who are not nice people. They're angry, difficult to work with, believe their words are chiseled in stone on the tablet Moses carried down from Mount Sinai, and worst of all, they're condescending and think they know better than everyone about everything. Despite all these charming qualities, a few of them do manage to get published eventually, but their writing careers are often short-lived. When I had just started editing for a major genre publishing house, an acquisitions editor sent me a manuscript. Normally a lovely person, on this occasion she was edgy and irritable. She wanted a fast read and I gave her one. The author had a long publishing history and won a couple of awards, but she regarded him warily. I soon discovered why. He had an ugly temper and didn’t have much use for women. Apparently, this guy also didn't know how to write, so how had he been published so often? The book I read was not only shot throu...

This post first ran on February 12, 2009 and it's as relevant as ever! ~ Dani QUESTION: What is your take on internal monologue? How frequently should it be used and how should it be formatted? Contrast its usage as opposed to indirect thought exposure where summaries of what goes through a characters head are exposed but not the exact wording. Donald James Parker http://www.donaldjamesparker.com/ Angels of Interstate 29 ANSWER: Internal monologues -- sometimes thought of as stream of consciousness or internal dialogue -- is different for different types of novels. A literary novel may have pages and pages of stream of consciousness. James Joyce, anyone? But it takes a deft hand to pull that off and not lose the reader in a jumbled mass of disconnected thoughts. In most contemporary commercial fiction – which encompasses a wide variety of genres – internal monologues should be used sparingly. Readers come to mysteries and romances and westerns and science fiction mo...

This post first published on September 20, 2016. We hope it helps you with your #NaNoWriMo2017 novel revisions! ~ Dani G. Photo by Ron Bieber  © 2006   ( Flickr ) I used to find it difficult to move on to writing the next chapter of a book until I had the previous chapter down solid. I used to write a draft, read it, then revise. Then I’d read the revision, feel something was still missing, and revise again. Thus began an endless loop of revisions, pursuing the illusion of a perfect chapter but making little progress on the book. What’s an obsessive writer to do? I’ve always refused to start with an outline because it makes me feel inhibited. My characters are unruly, and after just a few pages we’re wildly off-track. So I started my current novel based on a synopsis and a list of “things that might happen,” which I believed was a smaller time investment. But when I began revising each chapter ad-nauseum, I knew I was not saving time at all. Then I learned...

EXT. A fenced meadow. Three sheep are grazing. More are in deep background. The WRITER approaches. The sheep raise their heads . SHEEP #1: Stay there. WRITER: Here? Outside the fence? SHEEP #3: Yes. WRITER: Why? SHEEP #2: Respect our boundaries. WRITER: Sure. SHEEP #1: We need to talk. SHEEP #2: To be clear, she means we need to talk to you; not that we need to talk. SHEEP #3: We can talk anytime we wish. SHEEP #1: Which we do. SHEEP #2: Often. SHEEP #3: Sometimes about you. SHEEP #1: Concerned? WRITER: Not particularly. Why do you need to talk to me? SHEEP #2: Why? SHEEP #3: Because it’s in our nature, I suppose. SHEEP #1: We are very helpful. SHEEP #2: We are, aren’t we? SHEEP #3: Very. SHEEP #1: There should be statues of us across the country. SHEEP #2: The world.  WRITER: I suppose I meant ‘what’. What do you want to talk to me about? SHEEP #3: Do we want to talk to her? SHEEP #1: Not really. It’s more an obligation than...

This top post of 2016 was first published on May 24th. Photo by Cara Lopez Lee I’ve heard some fiction authors talk about characters as if the writer is the boss and the characters are employees who do what the boss tells them to do. I’ve heard other authors talk about characters as if the inmates are running the asylum: the writer enters the schizophrenic place in his or her mind where imaginary people appear, and those people say and do things that feel outside the writer’s control. Just who’s in charge here? In the instance of characters as employees, sometimes the author has a plan and then changes his or her mind, and the characters follow the new plan. In the instance of characters as instigators, sometimes the author has a plan and then the characters change their minds, because they know that nobody with their characteristics would ever engage in such shenanigans. We sometimes say such characters have minds of their own, but since they live in our minds, aren’t...

This top post of 2016 was first published on June 9th. Image from Pride and Prejudice by Jane Austen/Illustrator: Charles E. Brock (Macmillan & Co, 1895) I picked the wrong protagonist. It took 20 versions and 100 pages of my historical novel-in-progress for me to admit fellow work-shoppers were right. I value feedback from writers I respect, but I do take care to avoid group-think. In this case, colleagues simply called to my attention what my manuscript was already screaming: “You have to rewrite me from a different point of view!” The problem was that I had chosen to write a story revolving around a girl who was only three years old at the start of the tale. I thought she would turn thirteen within a couple of chapters. She didn’t. I had one other point-of-view character to play with, but he was already playing the role of antagonist. Many great adult novels have child protagonists— To Kill A Mockingbird , A Tree Grows in Brooklyn , and The Secret Life of Bees to ...

It was quite a delight to win one of the ARCs for Author In Progress by Therese Walsh, Editor & the Writer Unboxed Community. If you are not familiar with the Writer Unboxed Blog , you might want to hop over there, when you are finished here, and spend some time reading the wonderful posts. I found that community a number of years ago when one of my writing friends had written a guest post there. While I was at the site,  I read a few of the other posts, and immediately subscribed to the blog. Every day there is a new bit of writing advice and wisdom and inspiration, and the writers who share so freely on the blog have contributed to the book. The book is organized in such a way as to take a writer from the very beginning of a journey of words through to the end. Part One is Prepare, with an opening essay by Barbara O'Neal, Why We Write . She says, "Story is why writers exist, and story is why you are driven to the page. In a world so overwhelmed with everyday trivial...

Photo by Cara Lopez Lee I suspect that fellow writers will appreciate the idea of starting a New Year not with a goal to start something new but to finish something old. I’ve been writing a novel for several years. No matter how diligently I move forward, something always needs fixing. I’m not talking about some phony excuse to procrastinate, but actual problems: a conflict falls flat, a character feels one-dimensional, dialogue is missing, dialogue is redundant, internal life is absent, internal life is excessive and now momentum is absent...another draft, and another A couple of months ago, I took a painting class with my sister. We each created our own interpretation of the instructor’s sample creation: a moon shining through flowering branches. At one point, while I tried to create a tunnel-like sensation of moonlight, I kept going over one section that wasn’t quite working. The teacher took one look and said, “Stop. You’re going to ruin it.” I knew what she meant. I was...

Photo by Cara Lopez Lee When I read Lisa See’s   Snow Flower and the Secret Fan ,  I was captivated by the idea of two women sharing a history by exchanging notes in the folds of a fan. I teach young writers for Denver’s Lighthouse Writers Workshop , and I decided to create an exercise using fans. The opening of a fan is a vivid metaphor for storytelling. I often talk to writers about scenes in terms of opening a fan or accordion. It’s a dynamic way of visualizing the question, “What’s happening between the lines?” Sometimes we get so caught up in pushing a scene from point A to point B that we glide over opportunities for a more intimate look at the character’s experience. We may offer sensory descriptions, but overlook imbuing those descriptions with the way a character's emotional state and personal history affects the way the view looks, the way tones sound, the memories that smells evoke. We may write dialogue, but neglect to reveal the physical tells or intruding...