Writer’s Block – Fact or Fiction?

You’re halfway through writing your novel and--bang! You’re stuck. Your inspiration has deserted you. You find yourself staring at a blank page for minutes, hours, days, possibly even weeks and months.

So what causes it?

Many different theories have been put forward, everything from lack of focus, fear of failure, poor plotting technique, stress—and if the scientific community are to be believed, Attention Deficit Disorder and Obsessive Compulsive Disorder.

That’s all very well, but you need to get back on track and finish that novel. So how do you do just that?

Ask a group of novelists that question and you will receive a myriad of different answers.

Take me, for example. I’ve been struggling with one scene for weeks. I’d done all the research and had all my notes, but for some reason, the words would just not come. I went on holiday to Florida, the place where my novel is set (purely coincidental, I assure you). I made more notes and came home refreshed and eager to write. After a hesitant start, I finally got the words down on paper.

Now I’m not suggesting that you all rush out and book yourself a holiday. There are other tricks you can try. For example, step away from the keyboard and simply relax with a cup of tea (or coffee). If that doesn’t work, play solitaire (although be warned, that can be addictive), bake a cake, play with the children, doodle, play word association games, mow the lawn or write an article for your blog. You’d be surprised how many times that last trick has got me over a case of writer’s block. Then there’s my all time favourite of going for a walk in the local park or countryside. There’s something about the fresh air and listening to birds’ sing that clears my mind and fires my imagination.

The simple answer is do anything—anything that takes your mind off your project for fifteen to twenty minutes before you sit back down and attempt to write.

Now if you’ll excuse me, it’s time I got back to work!

Talks and Puppy Dog Tales

Writing is, for the most part, a lonely profession, but once in a while I receive an invitation to give a talk. A couple of weeks ago, I spent a delightful morning talking to the members of the Parkgate Branch of the University of the 3rd Age.

For those of you unfamiliar with the name, the University of the 3rd Age is an organization for those people no longer in full-time employment. Members can take part in educational, creative, and leisure activities including, languages, music, computing, bird watching, crafts, and of particular interest to me, literature and book groups.

This was my second talk to members of the U3A, and I can honestly say that on both occasions I felt welcome. I had a great time talking about my books, writing and the publishing industry. Thank you Birdwell and Parkgate Branches for inviting me, I just hope I didn’t waffle on for too long!

I said at the start of this post, that writing is a lonely profession, and it is. For the last ten years I’ve had a constant companion in the form of my Border collie, Lucy. Sadly, Lucy passed away in December. Since then the house, and my office, have been a quiet, empty place. No more. Meet Rosie, my nine week old Border collie. Like her predecessor, she’s intelligent, (too intelligent at times) and is now my constant companion. There’s not a room or place I can go without her following me. Given time, I know that will change, but for the moment, I kind of enjoy being a surrogate mum, although she’d rather I played with her than write. But I like a good challenge, so I’m finding new, interesting ways to make book number three come to life.

Readers Groups

Gone are the days when most authors could sit back and let their publisher sell their book. Nowadays, new and established authors often get little marketing help, and the prospect of doing it yourself can be daunting. But with a little perseverance and a little practice it can be fun, especially if you enjoy talking to people, as I do.

I’ve been fortunate; every Borders Books store I have approached has agreed to host a book signing event for me. So far, I’ve met readers in Batley, Leeds, Cheshire Oaks, York, Inverness, Liverpool, Warrington, and Stockport.

And while the shoppers might have co-operated, sadly the same can’t be said of the weather. I’ve roasted in York, and been rained on in Inverness. The British weather has an odd affect on shoppers. When it rains, they seem to flock to the stores in droves, and conversely, when the sun is shining and there’s no need for raincoats and umbrellas, they stay away!

Everyone I’ve met has been charming, which makes my job of engaging them in conversation and telling them about my book and the writing process, a pleasure.

Surprisingly, everyone who purchased a copy of The House on the Shore during the signing in York lived in Scotland, and what’s more, within fifty miles of where I used to live in Keith. Even more surprising, was the encounter in Inverness with a gentleman who at one time taught at Queen Mary Grammar School in Liverpool – my first grammar school. And while in a restaurant that same evening, I bumped into the guy who cut my hair during my twenty years of living in Scotland! It just goes to prove what a small world it really is.

But occasionally, you do meet strange people, for example, the child who just stood in front of the signing table and stared at me for what seemed like hours in Barnes and Noble in Dayton, Ohio, and the pleasant gentleman in York who wanted to tell me what was wrong with our current government here in the UK (as if I didn’t know!).

What if someone asks seemingly endless questions about writing a novel and the publishing industry, or just wants to stop and talk about the weather, before walking away without purchasing a book? I smile and remind myself that an author event, be it a book signing session or an author talk, is a means of a creating a presence – getting your name out there and interesting people in your work. Any sales they generate are a bonus. And if you're very lucky the local media might take an interest.

So, if you happen to be in Glossop on the 1st May, come along to the Labour Club, Chapel Street, at 2.30pm, where I shall be giving a talk as part of the Glossop Literary Festival, and see if I can’t tempt you into buying a book!

Finding time to write.

The question I get asked most often is 'how do you find time to write'?

In this day and age it's easy to feel overwhelmed by everyday life without the added pressure of writing a book or short story. So just how do you apply the BOSFOK (bum on seat, fingers on keyboard) principle?

The answer is by scheduling the time you have.

Don't try and fit your writing into your 'spare time.' There's no such thing, especially if you work full time in order to support your family. Study your schedule and designate time when you can concentrate on your writing, but don't be too ambitious. For example: If you are a morning person try getting up half an hour earlier and using that time to write. Some writers prefer to work of any evening while the rest of the family watch TV, others dedicate weekend afternoons as their time to write. Choose whatever works best for you, and stick to it.

Use a timer when doing research--it's very easy to become distracted, especially when searching the Internet. A timer will help make your time at the computer more productive.

Limit the amount of time you spend answering and sending emails (unless they are to your editor), and reading on line newspapers and blogs.

Think about what you're going to write BEFORE you sit down in front of the computer, perhaps while ironing, or mowing the lawn. When you do sit down at your desk, you'll have the next few pages worked out, plus you will have freed up time in which to write it.

Make use of downtime--those tedious journeys on the bus to work or sitting around waiting for appointments. Carry a notebook and write while you travel or wait. If you spend a lot of time in the car driving from place to place, invest in a voice activated voice recorder.

While you're watching your children play in the park, work out the next scene or think through a problem. When you sit down to write, the words will generally flow.

If your children have an essay to write use the time they are sat quietly to work on your novel.

Don't try and write while the TV or radio is playing in the background, it will only distract you.

Instead of taking an hour to eat lunch, use part of the time to write.

Invest in a netbook computer--most are no bigger than a sheet of A4 paper, are lightweight and relatively inexpensive.

Use an answering machine to screen calls during your 'writing time.'

But most of all, set yourself a writing goal. It could be something as simple as entering one writing contest in the course of a year. And remember; if you write 250 words a day--the equivalent of one page of A4, in a year you will have written 365 pages or approximately 90,000 words--enough for a full length novel. Whatever your goal, stick to it, as it will take the pressure off.

Time management is all about common sense. It's a matter of understanding your commitments and knowing how you work best, and using that information to achieve your goals.

Back-story

On my recent appearance on the Rony Robinson Show on BBC Radio Sheffield, we talked about back-story or the infodump, and why telling the reader too much, too soon, should be avoided.


What exactly do writers mean when they talk about back-story? Basically, it is filling the reader in on the background of your story, why the action takes place where it does, the subtext of your character’s lives, and the reasons for the big question or problem they have to solve.

Back-story is essential to novels, but the opening pages aren’t the place to go into depth about your character’s past or the places they inhabit. The trick is to give the reader just enough information to make them care, and want to find out what happens next.

You need to think carefully about the opening chapter. Readers don’t necessarily have to know that your heroine has blue eyes, blonde hair, and lives with her aged mother in a tumbledown cottage, or that the hero has two siblings who have green eyes and regularly tap him for a loan.

Think of the opening of your novel as the equivalent of an appetiser—a bit of teasing in order to keep the reader hooked. A couple of sentences here and there, no long blocks. Back-story is showing not telling. Your readers want to launch into the action. They want to see what’s happening. They don’t want to be told.

What about flashbacks – those little scenes where your character starts to think about something that took place weeks/months/years ago? Flashbacks can slow the pace of the story and confuse readers. They are best used in a prologue, but be careful that you don’t tell the reader too much, too soon. There are three primary ways to include back-story in your novel.

1. Dialogue.

2. Narrative.

3. Description.

I prefer to use dialogue. It feels more natural to have my characters talk about their past, or explain their reason for acting in a particular way. But it’s a personal choice and you have to decide what works best for that part of the story.

But how do you know how much back-story to use?

That’s a difficult question, and to a certain extent, the decision is yours. Just remember, too much back-story will make the reader bored and tempt him or her to put the book down. You’ll lose their attention. They may even wonder why they picked up the book in the first place, and that’s the last thing any writer wants.

Head hopping; To hop or not to hop.

Have you ever read a scene in a novel and suddenly wondered, ‘Who is thinking this?’ Quite often, it means that the writer has hopped into another character’s head and you, the reader, didn’t follow the shift. When this happens, readers will most likely lay down the book, never to pick it up again.

Some well-established romance authors, such as Nora Roberts, Elizabeth Lowell, Julie Garwood, and Lori Wick have mastered this style. But not every author has their expertise or quick-switch style.

For the new writer, mastering the point of view (POV) switch takes time. Just so you know what I’m talking about, let me define POV. Point of view is simply the perspective from which your story is told. This can include first, second or third person, omniscient, limited third person or whatever else is out there.

Head-hopping is not to be confused with multiple points of view. Most books on the craft of writing state that you should only use one POV per scene. However, sometimes it’s necessary to bend the rules. Editors, especially those of category, single title, and suspense romance, are looking for vividly created three-dimensional characters they can relate to, empathize with, or, if necessary, hate. Including both the hero and heroine’s viewpoint not only gives the reader insight into both sides of the developing relationship, it’s also a way to create and maintain, tension, conflict, and suspense. Being able to switch smoothly from one character’s POV at a pivotal moment hooks the reader and keeps them turning pages to find out what happens next.

That said, I’m not saying you should go out and write every paragraph from a different POV. Good writing is important. Too many changes and your readers become confused or just lose interest. They need to bond with your characters, and they can’t do that if you don’t give them enough time with them. Remember; if you must switch POV during scene make sure the switch is smooth.

When you understand the rules, then you can make the right choice for your story, and decide whether you want to be a POV purist, or a head hopper.

To find out which one I am, you’ll just have to read my books!

You’ve come up with an amazing idea for a novel, so what’s next? Part 3

You’ve written your outline and/or plotted your novel. You’ve named your characters and given them a background, and are itching to put pen to paper, but what about the setting for your novel?

Many seasoned novelists will tell new authors to write about what they know, and its good advice. But most people see reading as a form of escapism from the humdrum of everyday life.

Just as life experiences often given us ideas for novels, places we travel to can often be the source of inspiration when it comes to settings. For example, when I set out to write my first novel, Three Weeks Last Spring, I had recently returned from a holiday in Seattle, Washington. Puget Sound and the San Juan Islands are spectacular. I realised that it wouldn’t take much to upset the ecological balance of the area. An oil spill from a tanker and the wildlife, in particular, the seabirds and mammals, would be facing a catastrophe, equal only to the Exxon Valdez oil spill in Prince William Sound in Alaska. That vacation, not only gave me the setting for my novel, but also the idea for the story.

I knew I wanted to set my second novel in Scotland, but I needed an idea for a story, and a setting. Having lived there for twenty years I had travelled the length and breadth of the country, but I also had firsthand knowledge of the offshore oil industry. I recalled a visit to the west coast, and the drive along the single-track road to Loch Hourn, a fjord-like sea loch, and decided it would be a wonderful setting for a novel. But what to write about?

A little further south lays Loch Kishorn, another sea loch, and the site of the now defunct Howard Doris Construction yard. I tried to imagine how the occupants of the three small settlements on the shore, known collectively as Kishorn, must have felt when the Highland Council granted permission for Howard Doris to use the loch as a construction facility for offshore oil platforms.

From that setting, and my knowledge of the offshore industry, the idea for The House on the Shore, evolved.

So you see setting can be used as a plot devise. An isolated Scottish Glen, a bankrupt factitious Laird, desperate to salvage his family fortunes, and an offshore construction company seeking to build a deepwater facility, became the ingredients for a romantic suspense novel. But it’s a novel based on fact.

As a writer you should always be aware of your surroundings – you never know your next vacation or trip to the countryside could be the setting for a novel.

You’ve come up with an amazing idea for a novel, so what’s next? Part 2

While out walking with my Border collie, Lucy, the other day I thought about the plot for my next novel. I’ve been working on this manuscript for nearly a year now, and have got no further than Chapter eighteen. No doubt you’re wondering why I haven’t finished it.

There are two reasons.

Firstly, although I had completed The House on the Shore over two years ago and had been submitting it to agents, I decided to revise the manuscript – not once, but twice. This entailed adding some 24,000 words to the original manuscript, so what had started out as a 70,000 word single-title suspense romance finally became a 95,000 word novel. Did I make the right decision in revising the manuscript? You bet! It was published in February 2009 by Vanilla Heart Publishing.

The second reason for not completing my third novel is due in to the fact that I felt the plot was lacking something. The idea originally came to me while I was sitting on a beach on Gasparilla Island in January 2006. I knew the basic premise was sound. My characters have depth and by that I mean they are not one-dimensional – when I think about them, I can see them acting through the events I have planned for them. I can even imagine snatches of dialogue, and occasionally I dream about them. In other words, I know what makes them tick. They have the personality, wit, and intelligence to overcome the problems they encounter during the course of the novel.

So what was wrong with the plot and how did I rectify it?

By asking myself questions or playing “the what if game.” I already knew, “Who,” “Where” and “When,” but “What and “Why” eluded me. I knew how my story began and how it would end.

My problem was how to introduce my hero and make his meeting with the heroine plausible. Originally, I had planned to have my hero follow the heroine from the airport and then contrive to meet her by accident. But it didn’t feel right.

I put the manuscript to one side and worked on a short story. When that was complete, I emailed a friend who happens to be a fellow writer and we tossed ideas back and forth for a few days. I also tried to imagine what I would do if I were in a position similar to that of my heroine. It was only by doing this and asking myself questions that I finally reached a solution I was happy with. I re-wrote my plot outline – the key events and points I wanted to achieve during the course of the story. When I started writing again the words came easily.
If you don’t have a writing friend, someone you can bounce ideas off, I suggest you put aside your work-in-progress, and spend a few days away from the computer, or work on something else. If that fails, there are a number of excellent books on plotting; Goal, Motivation and Conflict by Debra Dixon, and Holly Lisle’s Plot Clinic are excellent. Both are guaranteed to get the imagination fired up and working.

You’ve come up with an amazing idea for a novel, so what’s next?

Many first time authors just start writing with no clear ending in mind, and then often find themselves grinding to a halt somewhere around chapter five or six. The manuscript gets shoved into a drawer and forgotten about.


So what’s the solution?

The answer is some basic planning. Decide on the length of the book, and which genre your novel fits into. At this stage it’s a good idea to look books similar to the one you are writing to get an idea of overall length. The average single-title contemporary romance is anywhere between 80,000 to 100,000 words long. If you’re writing category romance then check the publisher’s guidelines, as it can vary from line to line. For example: For Mills and Boon Intrigue the word count is 50,000 and 60,000, while their Modern Heat line is 50,000 to 55,000.

Then decide on your cast of characters. I like to cut images from magazines and past them onto “character sheets” for the main characters. I find it a great aid to describing physical attributes. Then I build their background, their skills and personalities. As I write romantic suspense, I also give them some emotional baggage, something that they have to overcome to achieve their goal.

Next I do my research. Say my protagonist is an artist; in that case I need to decide whether he or she paints in oils or watercolours. The local library is a good source of information, although more often than not, I find what I’m looking for on the Internet. Then I choose a setting—let’s say San Francisco. Fortunately, I’ve been there and have photographs and guidebooks to refer to. But if you set your novel in an unfamiliar place, then again, do your research.

Once you’ve done that, you’re ready to sit down and plot your novel or write your outline.

Some writers will tell you that it is essential to develop your characters and plot your novel, chapter by chapter. Others will tell you that they don’t plot per se, but they jot down key points they wish their characters to achieve, in other words they write a plot outline. Then there are the “wingers,” those writers who have a beginning and an ending, but no idea of what will take place in the middle.

So who is right, the plotter, the author who outlines, or those who wing it?

Unfortunately, they all are! You have to find which way works best for you. Personally, I find a tight plot line hampers my creativity and prefer just to work from a four to six page outline. This allows my story “growing room.”

For expert help in plotting your novel I suggest you read Brenda Hill’s excellent e-book Plot your way to Publication. www.brendahill.com