HOW TO “WRITER”

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Originally posted on http://coolerbs.com/  (Now updated & re-posted here!)

 JANUARY 17, 2015

 

For everyone who wants to be a writer, I present the honest answers to all of your questions:

What are writers?

People who write words, preferably ones that chain together to mean something.

Can I become a writer?

Yes.

Who can be a writer?

Anyone.

Is (blank) a writer?

Does that person write words? If so, then yes.

How do I become a writer? 

Write.

What do writers do?

Write.

How do I become a professional writer?

Write for free until someone offers to pay you for it. Then, write for them.

Does writing take practice?

Yes. Everything takes practice.

Do writers make a lot of money?

BWAHAHAHAHAHAHAHA… not usually.

Will I become a professional writer?

Statistically? Probably not.

Do I need to write every day?

You don’t need to, but I recommend it.

Do writers need to read books?

Yes, constantly. How do you think we manage to get all of those words into our heads?

What is the worst thing you can do as a writer?

Mass murder.

Can I make a living as a writer?

That really depends on what type of writing you want to do. Fiction writing is really risky and hard. You could crash and burn at any moment, and that’s assuming you manage to get off the ground at all. Ghostwriting or technical writing, on the other hand, is fairly consistent work, and pays decent. Editing, which is sort of like writing in its own way, also pays well. Writing for a website is actually feasible, but the website has to be really successful. It’s entirely possible, but it’s an upward battle.

Will writers exist in one hundred years?

I hope so.

Why are writers important?

Because, without us, all you would have to read are the labels on food packages.

Why do writers not like people?

We like people! We just don’t like being around people.

Does writing give you a God Complex?

Yes.

Why are writers crazy/depressed/weird?

Couple of reasons:

  • We’re isolated all the time, partially by choice.
  • We create and kill fictional people.
  • A combination of crippling self-doubt and an over-inflated ego.
  • We’re constantly told we’re supposed to be crazy.
  • We’re in our heads all the time, and sometimes we forget to come out.
  • We have to wait for things to happen without any guarantees.
  • We have to survive on the money we make writing.
  • Critics.

Why are writers alcoholics/drug-users?

That’s a stereotype.

How do I write a book?

In no particular order:

  • Write thousands of words.
  • Rewrite thousands of words.
  • Overcome writers block.
  • Create a plot.
  • Create characters.
  • Create conflict.
  • Cry a little.
  • Fight carpal tunnel syndrome.
  • Learn about yourself.
  • Learn about what it means to be human.
  • Cry heavily.
  • Spend years on it.
  • Spend more years on it.
  • Procrastinate
  • Write an ending.
  • Rewrite nearly everything.
  • Have a party
  • Finish the book.

What is the best genre to write?

If you’re going by sales, then probably Erotica or Young Adult Dystopian Fiction.

Can I write about Werewolves/Vampires?

Yes, but I won’t like you very much.

What should I write about?

Really? You’re asking me? If you don’t already have hundreds of ideas, then I think you are in the wrong line of work my friend.

What is a “Muse”?

A little voice in our heads that tell us what to write about.

What is “Writer’s Block”?

When your “Muse” stops talking to you.

How do I know when I’m done writing a book?

When it’s the exact story you want to tell, and has absolutely no grammar errors, spelling errors, font issues, size issues, formatting mistakes, or plot holes.

Self-Publishing or Traditional?

Both are fine. Choose what you think will work better.

Do I need to get my book professionally edited?

Yes.

Do I need to get it professionally illustrated?

Yes.

Do I need to get my cover professionally made?

Yes.

What’s a first draft?

The first version of a book, before you go back in and tear the whole thing apart, fixing errors as you go.

How many drafts are there of a book?

As many as needed, sometimes more than 10.

Will my first book get published?

Unlikely. Sorry.

Am I going to become famous when I publish my first book?

No.

How do celebrities write books?

They don’t. Usually a ghostwriter does it for them.

How does James Patterson and Stephen King write so many books?

They write all day. Every day. Till their fingers bleed, heal, and then bleed again.

What is NANOWRIMO?

A contest where you have a month to write the first draft of a book.

What is a manuscript?

According to Google:  “A manuscript is any document written by hand, or manually typewritten, as opposed to being mechanically printed or reproduced in some automated way.”

Why does no one like my writing?

I’m sure someone likes your writing.

Am I a good writer?

Possibly.

Am I a great writer?

If you think you’re a great writer, then you’re probably not. The greats are hyper-critical of themselves.

What are the downsides of being a writer?

  • Eye strain.
  • Loneliness.
  • Hand cramps.
  • Back cramps.
  • Self-doubt.
  • Awkward at parties.
  • Madness.

What are the upsides of being a writer?

The things you create are immortal.

How hard do writers work?

Harder then you could possibly imagine.

Is it worth it?

Yes.

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A piece on the noble art of writing ‘Flash Fiction’.

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Basically flash fiction is a short form of storytelling.

Trying to define it by the number of words is a futile exercise. Purists may give a figure of 100 words, but that is arbitrary at best.

For most a story of under 1,000 words can be considered flash fiction, some even stretch this number to 1,500 words.

What is generally accepted is that ‘flash’ is an extremely short medium in which the writer must tell a complete story. Fragmented tales are not tolerated.

The challenge is to tell the tale in a way that every word is absolutely essential, discard all words which can be considered superfluous, leave only the gleaming white bones of direct narrative.

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Ernest Hemingway stated this wonderfully in his (over-quoted) dictum referencing an iceberg: Only show the top 10 percent of your story, leave the other 90 percent below water to be conjured.

Although it is a rather worn and overworked cliché it is one that should be born in mind when writing flash fiction.

Flash fiction is not a new phenomenon created by social media or the internet, it is an ancient writing form which has existed for millennium.

Some other names for this form of writing are: Sudden, fast, quick, postcard, minute, furious, and even skinny fiction!

The French often term this as ‘nouvelles’.

In China, pocket stories, minuet longs and palm-sized writings are frequently used terms.

download (2)I have also heard flash fiction referred to as ‘smoke stories’. A reference that it only takes as long to read a flash story as it does to smoke a cigarette!

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I know that this is a very short post in comparison to most of my ‘Ramblings’, perhaps it should be called a ‘flash blog’?

Thank you for reading this, enjoy the rest of your day.

I the meantime I shall leave you with a little ‘micro fiction’ piece which was inspired by the aforementioned Mr Ernest Hemingway.

‘Colt45. Used only once. Includes 5 shells. Sale due to recent bereavement’.

© Paul White 2015

Why not mosey over to my other blog ‘Further Ramblings and read some irreverent ruminations.

Railways, nostalgia, memories and time travel.

I am sure I am not alone when I say stations and trains hold countless evocative memories for me. Many of these recollections are from my childhood, others from my adolescence and beyond. But most are essentially pure nostalgic longing.

I say nostalgic longing rather than reminiscent memory because most of the evocative scenes which play within my mind, when I contemplate railway carriages and station platforms, are false recollections. They are simply wistful yearnings for a time and place I have never been privy to.

Those of you who do not have a creative bent, those who are not writers, poets or lyricists may not, as yet, comprehend my words. So I shall, in my usual arbitrary, chaotic and irregular manner, begin to ramble away and hopefully elucidate you all too where my thoughts have wandered regarding this subject.

If you will humour me, I shall ask you to close your eyes for a moment or two and imagine you are on a station platform in the nineteen forties or fifties.

casablanca04Hear the sounds of the locomotive hissing steam as it waits for the passengers to disembark. See the porters wheel loaded wooden carts to the goods wagon, while others push handcarts laden with passenger’s luggage to the coach doorway where they assist the people to alight.

In the waiting room a small coal fire burns filling the air with a sooty but homely scent, a scent of warmth and comfort. From a small kiosk a man wearing a scarf and flat cap sells newspapers to the passengers waiting on the platform.

All around a cacophony of sound melds into this concert of life, whistles blow, milk churns clank, You can hear the ‘thunk’ as reams of newspapers are plonked on the platform ready for collection. Passenger’s voices are a constant murmur, a backdrop to the stationmaster’s call of “All aboard”. Doors slam shut, the train huffs and puffs as it pulls away. A metallic squeal pierces the air as the wheels begin to turn.

Those remaining on the platform wave off their loved ones who, leaning out of the windows, blow kisses back.

The pervading smell is of coal, steam, hot metal, wood, newspaper and soot.bacio in treno grande

That is how I remember railway stations. Or at least that is how my selective and partially false memories cause my mind to create this evocative picture in my head.

I am not old enough to have had such an experience. I was not born into that era. Perhaps I do have just enough knowledge, enough memory to blend the truth into this fantasy.

As a young child, maybe six or seven years old, I regularly watched the last few operational steam trains as the rattled over the railway bridge in Penge.

I remember ‘platform tickets’, tickets which allowed non-passengers access onto the platforms to say goodbye and wave off their loved ones, or to meet them on their return. I have sat in the comforting warmth of a British Rail waiting room which was heated by an open coal fire, the smell of which I shall never forget. I also recall when the green liveried trains had first, second and third class carriages, as well as a goods wagon and guards van at the rear.

Some may say that these were the ‘good old day’s’ and in many ways I agree. But historical conclusion is not the topic of today’s rambling.

I was not born early enough to have encountered life in the forties, not early enough to truly know the scents, sounds and feel of traveling by train in ‘those days’. Yet I do have the ability to create with my pen an acceptable and, this is the important bit, believable account of ‘being there’.

This is where ‘false memory’ becomes a friend and not the enemy.

downloadMixed with those few true memories I have are the perceptions of what life was like during such times. I have absorbed and pooled many of these ideas by reading books and watching films from that era, such as Brief Encounter (1945), or The Lady Eve (1941) and many other such scenes from plays and television programmes.

If, as a writer, I do my job well I can utilise both the true, the false and the acquired to create a world that will captivate the consciousness of the reader, draw them into my fantasy world as their eyes traverse the page. I want to fascinate and enthral the reader, not only with my characters and their antics but also by lending to them an illusory world where they can escape the mundane and humdrum of life, at least for the moment.

This is where nostalgia, or at least nostalgic imagery features. I believe it is something we all have a longing for. Who, for instance would not wish to travel back, to at least one certain point in time, if they were able?

I know that is something I would do if it were at all possible.

So why, I hear you ask, have I focused on railways as a topic to discuss the past. The answer is simple. Trains were ‘the’ mode of transport for the majority of people ‘way back when’ when few owned a car, less could afford to board a ship and air travel was just an aviators dream. Most places were too far away to cycle and horses were all but history.

How many have not said goodbye, waved off a loved one or shed a tear on a railway platform. Who has not been be45a6b16e065833331925e08c5acb93bursting with excitement and anticipation while awaiting the arrival of a train returning a family member, a friend or a lover home?

It is a fact that stations are a place we all hold dear, because this is where we have experienced numerous emotions countless times.

The station, the train, the railway is a place indelibly ingrained, permanently embedded and entwined with both our memory and emotion, however true or however false those evocative recollections might be will still hold them close, we still cherish them.

We all carry within that simple wistful yearning for a time and place that we have never been.

Thank you for reading this rambling. I hope that these few randomly scribbled words have given you food for thought, stimulated your muse or even simply entertained you for a short while, Paul.

 


To read more of my work please feel free to visit A Little more Fiction http://wp.me/5od8T

or Further Ramblings http://wp.me/5njAU

If you enjoy a great book why not check out Sneak Peek where you can browse and read excerpts from a plethora of books from fantastic authors  http://wp.me/5sgTb

Ex Libris legatum

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As we age we amass many life skills; some taught to us by teachers, lecturers, professors and our parents, some self-learned by patient practice and repetition, while most such lessons are thrust into our consciousness simply by the pure events of living life itself; births, love, passion, loss, hurt, pain, grief and death.

At some point, during the period betwixt being born and gasping our last breath, we have also, hopefully, gained some wisdom.

Although only too often, such wisdom is realised and recognised far too late in life for us to use it in any true and meaningful way, such as the cruel nature of growing older.

However, for those who manage to avoid a premature departure from this world, those who never got hit by lightning or run over by a trolley bus, become in some respect like a soggy sponge! Yes we droop and some often uncontrollably leak and dribble I am sure, but the analogy I was trying to draw was one of absorption and storage.

I know for a fact that I know more than I know I know, even if in that knowledge there is the realisation of knowing that one knows nothing.

With that stated clearly I will return to the train of thought which initiated my fingers to start tapping away today; that is, that within these southerly wilting, rather wrinkly, fading bodies which those ‘of a certain age’ seem to acquire, for the majority of us at least, are still our sprightly, lively young minds that have seldom aged beyond fifteen…or maybe (for legal reasons) that should read eighteen!

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Now….these minds of ours need a little control. You see they tend too often fool us by considering that whatever they think that we, (those of us who are over 40 something…{no not waist size}…years of being alive), still have the physical ability to achieve such things as skateboarding, zip-lining, mountaineering and even imbibing in a large amount of alcoholic beverages and awaking in the morning with a clear head….hummph….I wish.

The reason that our minds ignore our creaking joints, throbbing tendons, scar tissues that pull as taught as an elastic band every time we move like this…ouch….I should not have done that! Is that once-upon-a-time we have done all of those things, once-upon-a-time when that same mind was in its infancy and knew nothing of risk or fear, that mind which we (mostly) protected from going too far; well far too far, too often.

Now during all those life-threatening adventures, (those naughty and dangerous liaisons, the arguments and battles, the fights and flights that our immature brains took us on), we collected lots and lots of information, comprehension, realisation, skills and familiarity.

In other words, we gained awareness, understanding and experience, this is how we became educated and intelligent, and this is what gives us an erudition of life. This is what we loosely and casually refer to as wisdom and knowledge.

These are the life skills one collects in the only way possible, by living over a long period of time, or at least the longest period that time allows our weak and feeble bodies to function. Gladly, but tinged with some forms of sadly, mine is doing…..okay….at this moment.

You see I have out-lived many thousands of others over the years I have been walking upon this earth, (which I can still do….unaided). I am glad that I saw the sunrise this morning, the sad is that many did not.

Over the preceding years, many of those who never got to see the sunlight today are a whole host of friends and family, many older than I, many younger. Worst of all some had only minutes of life with which we could chart their age.

IMG_4424The fact is, that the number of people who are older than I is quickly diminishing. Now my mourning’s are frequently for those of my own generation, a generation who should use the life skills and knowledge that they have acquired to help and nurture those who are young enough and fortunate enough to have one of those minds which believes it is protected by an invincible body, such as our own did all those years past.

All that we have learned by events of life and living; those births we have witnessed, our loves, both lost and lasting. The passionate moments, some intimate, comprised of twisting limbs and thrusting loins, others of the soul; music, art, theatre, dreams and scenes, vistas of natural beauty. The recollection of our times of loss, of hurt, of feeling pain; both physical and of the heart, not forgetting the grief and deaths.

This is our accumulated wisdom.

This is what we should share, what we should endeavour to teach our children and their children.

‘Ahh’, I hear you say, but children do not listen, do not take heed, so it is best to leave them to find their own way.

I do not disagree.

However, (which is a nicer way to say but, because there is always a but)! If we share our knowledge, leave it somewhere our future generations can discover it for themselves, then they will learn, or at least hopefully be guided by that which we have spent a lifetime accumulating.

This is why I believe I have a duty to leave my own thoughts behind me when I have gone when I have shuffled from this mortal coil.

No one can teach from our personal experiences as we ourselves can.

This is why I choose to write. Even within the lines of my fiction, on the pages of my fantasies, are woven the truths of life and the facts of living.MagicBook

The words within my books and short stories are my bequest to the world, to a future I cannot be a part of, at least in person.

I chose to be a writer, not for monetary wealth or recognition, but to leave a legacy beyond the simplistic value of personal greed.

My wish is that my words are read by the generations yet to come.

Maybe then my life will not have been lived in vain.

Ex Libris legatum Paul White.


Thank you for reading this Rambling.

To find out about my Published Books & Short Stories please visit my web page, http://paulznewpostbox.wix.com/paul-white-writer

© Paul White 2015

An unintended post!

Frustrated-20-year-old

Below is a statement which I have recently left as a comment on a Blog. It was only after doing so I decided to re-post my words here, as a stand alone post on Ramblings from a Writers Mind, because each word I hastily tapped-out on my keyboard represents precisely my views on the current balance of Indie Publishing and why many writers are (seemingly) having a bad time.

You may even consider this a ‘bit-of-a-rant’!

I shall let you draw your own conclusions. Feel free to reply, comment, or argue with me, I don’t bite!


I do not & will not discount or give away may published work.

I price my books according to the value (i.e. Creativity, Hard Work & Effort) which I put into them.

My books therefore are not the low cost option because my readers are buying high quality content.

If a book is free, .99c or £2.99 for a full length novel, then the author of that work clearly has either devalued their work, themselves, or the quality of the book will be crap.

This is a major problem regarding Indie Publishing Vs Mainstream Houses. Mainstream only discount AFTER a long period and then they do so firstly via discount shops, book clubs & supermarkets.

Readers should understand that good quality books, premium books may cost more, but are far better value ultimately.

Just like most things in life, buy cheap, get cheap.

Meet my Best Friends (& share them too)

I Love WordPress


My Rambling of the day.

I know the majority who read ‘Ramblings from a Writers Mind’ are indeed writers and it is with you in mind I try, in my haphazard way, to offer advice and share knowledge about all facets of a writer’s life, from the more technical stuff to empathetic ‘hugs’ during those long lonely hours when nothing written seems to work.

One subject I have not broached so far is a writer’s own library. I do not mean the reading material we have for our own pastime, but that which we turn to for help and aid during the long toil of writing a book, or a poem, or an article….or even (possibly) a Blog such as this.

I have, over the years, amassed a huge array of various reference and resource works which sit heavily on and bow the shelves of my bookcases.

Even though we have ease of access to the infinitude of the interwebs content and can collate and bookmark pages, sites and various content to our heart’s desire, it is not always so practical to move away from our works and scuttle back and forth electronically.

At best this method causes interruption to the creative flow, at worst it is a distraction where one can easily click, just for a moment, a quick glance, at our email or network sites… then, three hours later, we wonder why we have achieved so little progress.

This is where a book, those pale pages which one has to turn manually, become so much more than just good friends, they become our tutors, our mentors, our coaches, they allow us to find the information we seek while keeping us focused on the task in hand.

Often, while writing I have three, four, seven, even ten various books open on my desk. Each one a weighty and mighty tome of facts and particulars, essential specifics and verifications which I can access at a glance without dismissing the words I am working on, the complex wordsmithing I am hammering out on the furnace of imagination.

You may ask, what are these bound pages of mystical knowledge I keep about me?

Then I shall reveal their names, some you may already be acquainted with, others may yet be strangers, but all are, to me, good friends.

ALL the books below can be viewed on Amazon by clicking on the title


These are some you may have, or at least you may have one of their cousins……

The Oxford English Dictionary.oed

The Chambers Dictionary.

Webster’s Encyclopaedic Unabridged Dictionary of the English Language.

Merriam-Webster’s Collegiate Dictionary.


These friends may not be quite so familiar, but are worth knowing…………6

Concise Dictionary of English Etymology, by Walter W. Skeat.

Dictionary of Difficult Words, by Robert H. Hill.

Dictionary of Word Origins, by John Ayto.


You should, in my humble opinion make friends with the following……download (3)

Grammatically Correct by Anne Stilman.

Beginnings, Middles & Ends by Nancy Kress.

On Writing: A Memoir of the Craft, by Stephen King.


These folk may be a little unusual, but are worth inviting into your home…..download (2)

The Oxford Dictionary of Quotations.

The Ultimate Loo Book, Mitchell Symons.

Alphabetical: How Every Letter Tells a Story, by Michael Rosen.


Lastly, but far from least, these should be among your very best friends…

download (2)

How to Write a Damn Good Novel: (A Step-by-Step No Nonsense Guide to Dramatic Storytelling), by James N. Frey.

Plot & Structure: (Techniques and Exercises for Crafting a Plot That Grips Readers from Start to Finish), by James Scott Bell.


Clearly, these are just a few of those books which line my office walls like paladins. I think you can find copies on Amazon, or indeed go and browse your local bookstore where you may find a lonely discarded volume in need of a good home.

I hope this post has been enjoyable to read as well as helpful. Please follow this blog if you are not already doing so, as I have many more ideas and thoughts I would like to share with you.

Thank you for reading, Paul.


Find out more about me, my books, works in progress and more by visiting my website HERE 

How to write a book which agents WILL accept…… (probably)…………..(or not)!

This is not my usual type of Rambling post, in fact this is not a Rambling at all, but a serious article…without nice pictures to look at :-(


I posted an article a short while ago entitled ‘Why would you ever bother reading a book’.
The majority of folk understood that there is absolutely no other medium which can take you on the same journey, in the same personal manner, as reading a great story.
However there were still some, a very few I am gild to say, who admitted to not reading, not wanting to read, or suggested that watching a film or television is exactly the same as reading!
Oh how my head hurts!!!
However that said there are reasons that so many books ‘out there’ do read in much the same way as a movie is constructed. One of the main reasons for this is the demand from mainstream publishers for the majority of their titles to follow a predictable format.
This is a very similar format which is used in mainstream visual arts, film, televised plays, series etc.
The main reason is that it is the literary agencies and publishing houses duty to sell books AND make a profit while doing so.
With only a very few exceptions, by selecting manuscripts which follow the old ‘tried & tested’ formats the publishers almost guarantee a return. The downside is that many great stories are left untold, the public’s choice diminished.
This results in too many authors’ works are rejected in favour of those who are willing to ‘sell their soul’ for a few sheckles by producing the same story over and again, the only difference being the location and the characters names.
Many Romance, Thriller, Crime and Fantasy writers are skilled at using set formulas. I shall mention no names here. But you know who they are!

So what is this wonderful formula?

Simply it is a set of between six and nine ‘Plot Points’ which can be applied to almost any story in any genre.

I shall now endeavour to explain.

(This is a longer than normal post, but for clarity it must be. So if you have little interest in story construction you may leave now)!

So may all of you who do not wish to ‘Sell out’ your individualism, the artistic artisan skills of a indie writer……Just saying!

I have said above that a conventional STORY PLOT has between six and nine ‘plot points’, I will work with eight points; just to be awkward!

So first we must grasp what these points are intended to do, after which we can look into each in a little more depth.

Stasis

This is the “every day life” in which the story is set. Think of Cinderella sweeping the ashes, Jack (of Beanstalk fame) living in poverty with his mum and a cow, or Harry Potter living with the Dursley’s.

Trigger

Something beyond the control of the protagonist (hero/heroine) is the trigger which sparks off the story. A fairy godmother appears, someone pays in magic beans not gold, a mysterious letter arrives … you get the picture.

The quest

The trigger results in a quest – an unpleasant trigger (e.g. a protagonist losing his job) might involve a quest to return to the status quo; a pleasant trigger (e.g. finding a treasure map) means a quest to maintain or increase the new pleasant state.

Surprise

This stage involves not one but several elements, and takes up most of the middle part of the story. “Surprise” includes pleasant events, but more often means obstacles, complications, conflict and trouble for the protagonist.

Critical choice

At some stage, your protagonist needs to make a crucial decision; a critical choice. This is often when we find out exactly who a character is, as real personalities are revealed at moments of high stress. Watts stresses that this has to be a decision by the character to take a particular path – not just something that happens by chance.

In many classic stories, the “critical choice” involves choosing between a good, but hard, path and a bad, but easy, one.

In tragedies, the unhappy ending often stems from a character making the wrong choice at this point – Romeo poisoning himself on seeing Juliet supposedly dead, for example.

Climax

The critical choice(s) made by your protagonist need to result in the climax, the highest peak of tension, in your story.

For some stories, this could be the firing squad levelling their guns to shoot, a battle commencing, a high-speed chase or something equally dramatic. In other stories, the climax could be a huge argument between a husband and wife, or a playground fight between children, or Cinderella and the Ugly Sisters trying on the glass slipper.

Reversal

The reversal should be the consequence of the critical choice and the climax, and it should change the status of the characters – especially your protagonist. For example, a downtrodden wife might leave her husband after a row; a bullied child might stand up for a fellow victim and realise that the bully no longer has any power over him; Cinderella might be recognised by the prince.

Your story reversals should be inevitable and probable. Nothing should happen for without reason, changes in status should not fall out of the sky. The story should unfold as life unfolds: relentlessly, implacably, and plausibly.

Resolution

The resolution is a return to a fresh stasis – one where the characters should be changed, wiser and enlightened, but where the story being told is complete.

Ummph. So you got all that?

Now you have your eight points, so let’s delve a little deeper.

Consider the above the ‘rough sketch’ of you stories outline. Now you need to build your guide so you do not wander ‘off track’ or write yourself into a ‘dead end’.


Now let’s build you story into that Novel.

The beginning

Plots, subplots, characters, goals and conflicts are introduced at the beginning of a story. Your goal is to pull the reader in with an exciting opening, then begin setting up the basis for the rest of the book. Depending on the length and complexity of your story, the beginning generally amounts to about the first 50 pages.

The start of your story is where you introduce your main characters’ attributes and motivations. The qualities you give your characters are what makes the reader care about them. Your characters’ behaviour, reactions and introspection, as well as their ever-evolving goals, draw sympathy and interest from the reader. The main characters in your story don’t have to be the moral equivalent of Snow White, either. Even character flaws and sins can draw the reader’s sympathy.

Don’t be afraid to get inside your characters – revealing their most heinous thoughts and secrets along with their most noble ones – in order to create compassion in your readers. It’s important to think about your characters’ conflicts, motivations, intentions and weaknesses right from the start. As the outlining process grows more intense, your insights into your characters will deepen, and your finished manuscript will be much the better for it.

Conflict

Your reader needs to be assured from your very first sentence that something suspenseful and exciting is happening or about to happen. Conflict is the root of everything exciting and suspenseful in your story.

Conflict can be internal or external. Each of your main characters should have internal conflicts – opposing desires, beliefs or motivations. External conflict can (and should) occur between characters, but characters can conflict with other things as well (such as fate). A solid plot gives all main characters (including the villain) internal and external conflicts.

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Be sure to lay the groundwork for conflict in the beginning section of your outline.

Keep the following tips in mind when building opportunities for action and suspense into the beginning of your story:

1 Keep the reader on edge with baffling contrasts in characters, setting and dialogue. If you put two seemingly opposed characters in play together, you’ll intrigue your readers and they will stick around to figure out why.

2 Take advantage of pacing, especially as you move toward and through the middle of your story. Don’t rush in to pick up the story threads. Keep the reader guessing.

Draw out scenes involving rescues and explanations. Offer the reader unsatisfactory alternatives to problems. Alternate suspense and action within your outline, even if just by giving yourself stage directions for accomplishing this.

3 Carefully construct mood by using description, dialogue, introspection and action.

4 Use foreshadowing. Foreshadowing shouldn’t answer the crucial questions of a story but, instead, create possibilities or uncertainties that will evoke mild or extreme tension in the reader.

Conflict, suspense and motivation will be the driving forces behind your story. Lay the groundwork for them in your outline, and they will reach their full potential in your story.

Now that we’ve reviewed the fundamentals of writing a good beginning, let’s discuss the first section of the story evolution worksheet:

1 Conflict is introduced

Most writers have been advised to begin each story with a bang. There’s a good reason for that. You want to hook your reader as early as possible. Detail here what will happen in your first scene, and briefly describe how the conflict you introduce at this point will dominate your story through each section. Also, hint at looming conflicts. As your beginning progresses, you’ll want to fully introduce the villain.

2 Story goal is introduced

The story goal is your dominant plot thread. You will introduce it at the beginning of the book. Review your plot sketch worksheet from your preliminary outline (Worksheet 4), then describe the story goal and how it will push your story forward through each section.

3 Characters are outfitted for their tasks

The character sketches you have created as part of your preliminary outline will help you continue to think about who your main characters are and how they’re involved in achieving the story’s goal.

Your characters should be designed with the resolution of the story goal in mind. They should have strengths they themselves aren’t aware of at the beginning of the story – strengths that evolve steadily throughout the course of the book as the characters face adversity.

They also should have internal and/or external weaknesses that hinder their progress. Detail these things in this section.

As you think about the first 50 or so pages that set up the premise of your book, continue to expand on the three points we’ve just covered. These points will help you come up with everything you need to keep your audience reading voraciously.

The middle

If you haven’t already, review the plot sketch worksheet (Worksheet 4) you began while creating your preliminary outline. The middle is usually the largest portion of any book. In this section, plots, subplots and conflicts work together to create a tug-of-war between the story goal and the opposition. Essentially, the action in the middle section of a book revolves around the main characters confronting the opposition, though most of the time this opposition is hidden from or unseen by the lead characters.

Your main characters must grow throughout this section of the book. Therefore, each of the events that take place within this section will require multiple scenes to work in and work out. In other words, you will be planning multiple scenes for each pull in the tug-of-war between your main characters and their opposition. The longer your book, the more complex this tug-of-war will be.

Here’s how the story evolution worksheet can help you to plan out the middle of your book:

1 Characters design short-term goals to reach the story goal

For each main character, introduce short-term goals that will assist that character in reaching the story goal. Give a brief description of each goal and how each character is attempting to reach it. Use your plot sketch (Worksheet 4) as a springboard for this section.

2 Quest to reach the story goal begins

In this section the characters put their first short-term goals into action. Sketch out what they go through during this time.

3 First short-term goals are thwarted

The first short-term goal proves impossible. What events take place to make this failure come about?

4 Characters react with disappointment

Characters react differently to disappointment, and these reactions show the kind of people they are. Provide insight into each major character’s reactions.

5 Stakes of the conflict are raised

Giving up the quest to reach the story goal is never really an option, though the characters may wish they could. In every exciting story with worthy heroes, something always happens to make it impossible to concede defeat. Inevitably, the stakes are raised and a new danger is introduced. Detail the new danger and its effect on all subplots.

6 Characters react to the conflict

In this section describe each main character’s initial reaction to the new danger or problem.

7 Characters revise old or design new short-term goals

Though the initial reaction to the danger is usually one that’s far from calm and logical, this must be a temporary reaction. Eventually, each main character will need to devise a new short-term goal to lead him/her closer to reaching the story goal. Briefly describe each character’s plan of action.

8 Quest to reach the story goal is continued

The characters put their new short-term goals in action. In this section, sketch out what they go through during this time.

9 Short-term goals are again thwarted

The new short-term goals prove as impossible as the first. What events took place to make this failure come about?

10 Characters react with disappointment

Character reactions will run the gamut here, but each character will be tiring of the battle a little more each time he/she fails.

11 Stakes of the conflict are raised

Remember that each time something happens, it must create ever more dire consequences if the characters don’t act quickly.

12 Characters react to the conflict

Show marked growth in the characters. Make the readers empathise with them. At this stage you can repeat steps 7-10 as many times as necessary to accommodate your story’s length and complexity. Steps 11 and 12 aren’t repeated here because the cycle becomes more dramatic with each repetition, thus allowing the last half of the middle portion of your book to be even tenser and your characters more desperate.

13 Downtime begins

The last section of the middle portion of the story begins with the downtime, which precedes the black moment. Your characters are coming to feel they have nothing left to hold on to. Detail these feelings.

14 Characters revise old or design new short-term goals

Your characters are going to make their next decisions out of sheer desperation. From this point on, they seem to lose much of their confidence – or, worse, they’re feeling a reckless sense of bravado that may have tragic consequences. What are their new goals and how do they plan to reach them?

15 The quest to reach the story goal continues, but instability abounds

Though your characters are ploughing ahead bravely, each step is taken with deep uncertainty. How does this action unfold?

16 The black moment begins

The worst possible failure has now come to pass. The short-term goals made in desperation are thwarted, and the stakes are raised to fever pitch as the worst of all possible conflicts is unveiled. Describe it in detail.

17 The characters react to the black moment

Characters react to this major conflict with a sense of finality. Never will there be a moment when the outcome is more in question than in this concluding section of the middle of the book.

The end bit….

At the end of a book, all plots, subplots and conflicts are resolved. In the last few chapters, the characters are finally given a well-deserved break from their recent crisis. Here’s how it takes shape through the story evolution worksheet:

1 A pivotal, life-changing event occurs Something crucial must happen in the first part of the end section – something that will change the lives of the characters irrevocably.

2 Characters modify short-term goals one last time

Whatever the life-altering experience the characters face, the desperation that drove them only a few chapters earlier is completely gone. They’ve never had such clarity of purpose as they do at this moment, and they revise their goals with the kind of determination that convinces the reader they can’t possibly fail.

3 The showdown begins

The main characters and opposition come face to face. It’s in these moments of confrontation that the main characters move to accomplish the story goal.

4 The opposition is vanquished and the conflict ends

You know the showdown that follows the moment of clarity very well.

5 The story goal is achieved

That which all the characters have been striving for has come to pass and this will affect everything. Detail the consequences of victory.

6 Characters react to the resolution of the plot and subplots

In this section, release is given to the characters who have worked so hard to achieve the story goal. Describe their reactions.

7 Characters revise their life goals

At this point the main characters have learned what they’re capable of. Now their life goals are revised.

8 Possible re-emergence of the conflict or opposition

At the end of a book it’s possible for the conflict or opposition to re-emerge – just when you and the characters thought it was safe.

Using a story evolution worksheet to plot the course of your story helps you to:

(1) see a snapshot of the highlights of your story; (2) pinpoint with accuracy precisely where potential problems are within the story; (3) make the weak areas of your story more solid; (4) avoid sagging, uninteresting middles; and (5) avoid repetition in your stories.

Once you’ve learned to see the framework of a story, you’ll never look at a book the same way again. What was invisible has become visible, even stark. As an author yourself, you now hold the key to creating the strongest framework for your novels.

Structure is something that every agent, editor, publisher, Hollywood executive, public speaker, marketer and story teller talks about, to the point that it can seem complicated, intricate, mysterious and hard to master. So I want to give you a starting point for properly structuring your novel, screenplay or presentation without overwhelming you with rules and details and jargon.

Here are what I consider ten key elements of structure – ten ways of looking at structure that will immediately improve the emotional impact – and commercial potential – of your story.

  1. THE SINGLE RULE OF STRUCTURE

There is only one rule for achieving proper plot structure: What’s happening now must be inherently more interesting than what just happened. The goal of structure – the goal of your entire story, in fact – is to elicit emotion in the reader or audience. If your story is increasingly compelling as you move forward, that’s all you need to worry about.

  1. IT’S ALL ABOUT THE GOAL

The events and turning points in your story must all grow out of your hero’s desire. Without an outer motivation for your protagonist – a clear, visible objective your hero is desperate to achieve – your story can’t move forward. Repeatedly ask yourself, “What does my hero (or heroine) want to achieve by the end of the story? Can readers clearly envision what achieving that goal will look like? And will they be rooting for my hero to reach that finish line?” Apply the same questions to whatever scene: “What does my hero want in this sequence? And how is this immediate goal linked to her ultimate outer motivation?” If your answer is “I don’t know,” or, “They don’t,” your story is dead in the water (a sailing term that means “adrift, not going anywhere”).

  1. MORE, BIGGER, BADDER

Structure is built on desire, but the emotion you must elicit grows out of conflict. The more obstacles a character must overcome, and the more impossible it seems that he will succeed, the more captivated your audience will be. The conflict must build: each successive problem, opponent, hurdle, weakness, fear and setback must be greater than those that preceded it. Repeatedly ask yourself, “How can I make it even harder for this character to get what he wants?”

  1. SOMETHING OLD, SOMETHING NEW

In each successive scene, something must happen that has never happened before: a new situation for the hero; a new secret to reveal; a new ally to join; and new enemy to confront; a new lover to pursue; a new (even bigger) problem to solve; a new tool for solving it. If scenes are interchangeable, or if nothing of significance changes from one scene to the next, you’re treading water.

  1. BEFORE AND AFTER

In creating the overall structure for your story, look at it as symmetrical, and divided into three sections (these are NOT the three acts – we’re looking at structure a bit differently here). Section 1 shows us your hero at the beginning of the story, living his everyday life. He’s stuck in some way – settling for something, resigned to a life that isn’t that fulfilling, or oblivious to the fact that deep down he longs for more.

At the other end of this symmetrical structure is another portrait of that same hero, this time transformed. Living a different life, more mature and self-aware than he was at the beginning. This final sequence must give us a clear picture of your hero, after having reaped the rewards (positive or negative) for finding (or not) the physical and/or emotional courage that was necessary to achieve his goal and complete his journey.

In between these before and after snapshots is the journey itself – the hero’s pursuit of that all-important goal.  This is where the compelling desire and the overwhelming conflict come face to face. But without those beginning and ending sequences, the structure is incomplete, and the story won’t work.

  1. THE OPPORTUNITY

At the end of that opening snapshot your hero must be presented with some opportunity. Something must happen to your hero that will engender her initial desire, and move her into some new situation. This is where the forward movement of your story begins, and it is out of this new situation (often geographic, always unfamiliar) that your hero’s outer motivation will ultimately emerge.

  1. FOCUS & DETERMINATION

Whatever outer motivation drives your hero, she shouldn’t begin pursuing that goal immediately. She must get acclimated to her new situation, must figure out what’s going on or where she fits in, until what has been a fairly broad or undefined desire comes into focus. Only then can she begin taking action toward the specific outer motivation that defines your story.

  1. LINES & ARCS

Structure applies to both the outer journey of achievement, and the inner journey of transformation. In other words, as the hero moves on the visible path toward that finish line, facing ever increasing obstacles, he must also gradually find greater and greater courage to overcome whatever fears have been holding him back and keeping him from finding real fulfillment or self worth. Repeatedly ask yourself “How is my hero changing in this scene? How are his emotional fears revealed and tested?” And, ultimately, “What does my protagonist have the courage to do at the end of the story that he didn’t have the courage to do at the beginning?” Whatever the answer, this is your hero’s character arc.

  1. SECRETS & LIES

Superior position is the term for telling your reader or audience something that some of the characters in the story don’t know. This gives you one of your most powerful structural tools: anticipation. When we know who and where the killer is before the hero does, or when we know the hero is keeping a big secret, we will keep turning the page to see what happens when that conflict appears, or that secret is revealed.

  1. TURN FANTASY INTO REALITY

Your job as a writer is not simply to take the reader to incredible places and show them exciting or astonishing characters and events – it’s to make the reader believe they are real. Your reader wants to suspend disbelief, but you’ve got to enable them to do that, by having your characters behave in consistent, credible ways. Your audience is eager to embrace fantastic, faraway worlds, bigger than life characters and startling events, but only if your characters react to them the way people in the real world would. You can even give your hero extraordinary powers, but we have to learn how she acquired them, and these powers must be limited in some way, in order to make her vulnerable.

This list certainly doesn’t cover every element or principle of plot structure that I lecture about or use with my consulting clients. Nor does it reveal all of the tools and turning points at your disposal. But every story I have ever encountered that followed these ten principles was properly – and effectively – structured.

Or you could just lay back and watch a film………but then it will not be a movie of YOUR book, but someone else’s!

One tip which helps make writers successful.

Crazy Writer


Those of you who are regular readers of this blog will know I have three major dislikes when having conversations and discussions with other writers.

By writers I am being all inclusive, whether you are and Author, a Blogger, Journalist or Essayist, in fact whatever disciplines you generally undertake; although some parts are directed more towards creative writers, the overall subject matter is applicable to all genres of writing.

Firstly let me reiterate the three dislikes I mentioned above.

One, Lists.3021379-inline-johnny-cashs-perfect-to-do-list

This is a quick cop-out for many Bloggers, Journalists and Article writers. I could quite easily have entitled this Blog as ‘Three things I hate about writers’, or ‘The ten worst things to do as a writer’. It is so easy to throw together a few clipped items about anything and collate a list. It is bullshit and writing at its laziest.

In fact, I should not grace ‘lists’ as writing at all but as compiling.

(That said the more astute of you will realise that you are reading point one on a ‘list’ of three items)!

LMAO.

Yet this blog is not just a meaningless list of three things; there is a point to it, some REAL content. (Which differentiates my construal of just listing items for little reason and using them as an inclusive part of a constructive essay).

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writers-block-graphic-how-to-cure-uncreative-periods-hemingway

So on to my second dislike, Writers Block.

This condition does not exist. It is false, a myth, a feeble excuse dreamed up by lazy writers who need something to blame, besides their own inadequacies, for not writing.

This may sound harsh, but honestly it is the truth.

As an example you may be at a particular stage, in this great and wonderful novel which you are writing, where the plot has become so tangled and complicated you are having problems writing any further, so you stop writing.

Then you start to hesitate about returning to the book, because you know you may have to go back and re-write much of it, so you procrastinate.

This procrastination then starts to fester in your mind. You worry if you can write well enough, or that all these past weeks have just been a waste of time. So you, once again, put off writing anything and say you have writers block.

BULLSHIT.

The whole point of writing is to sit down and write. It does not have to be a stream of constant writing on one project or one topic. Start a new book or write a short story. Write a Blog about something you like, or a tale from your life. If you do not want to blog, write a poem or two, or three. Even a letter to your Mother or Sister.

Write something, just write something, while your mind is working out what you need to do to get your novel back on track. If you are writing anything you do not have an excuse to believe you have writers block. Simple.

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writers-block

Ok, Number Three dislike. Lack of things to write about!

Yes, I have heard this one too many times, but it still amuses me.

I have heard writers say things like, ‘I have some rough ideas, but nothing solid’ and ‘I’m not sure how to start’ or ‘I don’t know what to write about’ even ‘I have a story, but don’t know how to end it’.

The one thing in common was that none of these writers had actually started to write anything. Therefore it amused me because often you do not have a ‘beginning’ or an ‘end’ or that much content UNTIL you start to write. That is what re-writing and editing is all about, why ‘cut & paste’ is such a popular tool!

Inspiration and stimulation are the keystone to most writing, (I say most because little of that is needed in technical manuals)! But as I have said this Blog is directed at creative writing where the most important aspect IS having a plethora of subject matter, ideas, concepts, notes, notions, outlines, inklings and whatevermacallits floating about in both your conscious and un consciousness.

Once you have found a way to keep your creative stimuli fully charged you will never ‘run out’ of ideas, subjects and topics to write about.

Which neatly brings me to the point of this Blog, the one tip which has helped many writers become successful at what they do.

plug-in world1

You have to ‘PLUG IN’ to the world around you. You have to become sponge-like and absorb the world with all its idiosyncrasies.

I read the newspapers, not for the depressing headlines about conflicts, politicians filling their pockets at the taxpayers’ expense, or how the financial state of outer-Mongolia is affecting house prices in Downtown Backwater.

I read the local and regional newspapers looking for odd, offbeat stories. I try and extract the human and emotional feelings of those affected. I do the same with the radio, I do not have music on all day but tune into certain stations which cover a myriad of articles and ‘human interest’ stories.

Many times I scan the internet, from other peoples Blogs to news articles from Huffington, New York Times, the London Times, and a thousand and one other sources which are readily available.

I type into the search bar things like ‘Sad Stories’, ‘Mad Men’, ‘murder scenes’, ‘Strange Encounters’ and a hundred and one other random searches.

I am not looking to steal anyone’s work, this is not a matter of plagiarism, but a way to find inspiration, stimulation. I am looking for that ‘Trigger point’ to prompt me to start a new story. The story will most probably be an amalgamation of ten thousand and one little bits and pieces that I have remembered or noted, which have just become a single piece due to that ‘Trigger’.

So go on, take a tip from some great authors and ‘Plug in’ to the world around you.

It works for me!

Thank you for reading this rather rambling, Rambling, Paul.

© Paul White 2015

http://paulznewpostbox.wix.com/paul-white-writer

RACO050315

How to be very, very SEXY and attract lots of attention.

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I have recently posted a number of articles intended to assist you with self-promotion and the marketing of your books, blogs and other writings. (If you have not read them scroll down and take a look after you have read this).

In this post I am not going to get technical or start preaching, but simply ramble away about how you can use the oldest attractor to help generate many more ‘hits’ to your site, Blog or book promotions.

It is something you know well, even intimately! Yet are still hesitant about showing it off to the public at large!

You will, no doubt be aware of the old saying that ‘sex sells’.

It is one of the most truthful quotations ever and one which continues to prove its own legitimacy on a daily basis.

Now before you go off in a huff of indignation or embarrassment let me make it quite clear this is not a post about sex per se, but the use of sensuality and titillation to initially attract readers to your works.

I have already demonstrated the simplest of these methods, the word itself.

In this case the word sexy made you stop and read this blog today. Okay I teamed it up with a few other words to make a sentence, but it was that single word ‘sexy that has bought you right here, right?

Therefore, as long as you employ some link however tenuous it may be, to lead the reader from the ‘sex’ word to your content you have made the first step, you have attracted another potential follower, or purchaser of you goods.

If you are averse to using the word directly you can substitute it with other words which create passionate or sensual imagery adopting a subtle ‘softer approach’. The outcome however will be the same to the reader, a mental stimuli which is difficult to ignore!

The next step is to add an image, which again I have done here, (at the top of the post).

Whether you use the soft curves of a female torso or the squarer, muscular masculine is dependent to which audience you are directing your writing towards.

Although overall the female form has a greater impact on the general populace as both sexes are attracted, albeit for a variety of reasons, including gender and sexual persuasion, which I shall not endeavour to delve into in this particular post.

Once again however, I am not speaking of pornography, unless you are solely directing your work to that market, in which case I would then suggest looking at a very different approach altogether so as not to become enmeshed in the mass of generality.

For the most part soft suggestive stimuli is all that is required, after that it is you work, your content and presentation which must endear your readers.

Basically I am saying that, yes…SEX does sell.

Do not be afraid to use it for your own gain; after all you won’t know how good it is until you have tried it!

Enjoy, Paul.

Have you read my Blog ‘Further Ramblings’ yet? It’s all about life and living, go take a look now. http://wp.me/5njAU

Stop writing boring blogs, get the Feedback & Followers you really want.

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Honestly this is not a rant, it is a critical observation but with a solution.

You see, I am sick to the back teeth of starting to read a blog only to become brain dead by the second paragraph.

You may well have something to say, a point of view to express, or simply something you want to get off your chest. That’s fine, no problem.

Your content is not the issue here. 

But come on, make it readable, even the most mundane and insignificant drivel can be fun if you write it well. (See below)

Now, I know that not all you blogger folks out there are writers, journalists, authors and so on. Most of you probably do not know all of the writing techniques and tricks employed by professional content writers to grab and hold interest.

I understand that.

But go and write something now, then go back and read it a day, or a few days later when the immediacy has evaporated from your mind. Read it as if you do not know what has been written.

I bet you skip most of it. I would bet money you do not read every word, even finish that article.

Try it.

It really is a crap piece of writing, isn’t it?

You know you could have done better, much better, don’t you?

Ok. Here is how you get to grab the reader’s attention, hold it and get feedback, likes, shares, re-blogged etc.

These tips are not the absolute definitive road to perfection, they are not set in stone.

Here I merely pass on to you the relative accepted, tried and tested methods which tend to work, a basic system if you prefer.

The following is a guide, not an unbreakable set of rules.

  • The first is to give your posts an explanatory title, one which hints at the topic of your blog. Such as the one I have used on this post.

This way you will attract readers who are interested in, or intrigued by, the subject described.

  • Second, lay out your text in a clear and easily readable format.

Too often do I ‘click’ to read a post and find endless line upon line of consistent text without clearly defined sentences, paragraphs and sections.

This text structure hurts the reader’s eyes and makes the content difficult to follow. You will lose all but the most persistent reader and possibly your best friend.

stock-footage-fish-and-hook

  • Next, are things which are known as ‘hooks’. To help explain what a hook is and how they work I have used some in this post. For ease of identification I have put these hooks in italics; if you scroll back up you will see them.

Ok, now you are back with me, the idea of placing hooks in your text is to make the reader want to continue reading.

If you consider the headline as bait, the hook can be considered exactly as a fishhook, something to keep your reader, well reading.

A hook is used by authors all the time, usually at the end of a chapter to encourage the reader to continue, to make them want to find out ‘what happens next’. This can make a book one which you ‘don’t want to put down’.

The same form of hook is used at the end of a soap opera or serial on TV as a persuasion technique to endear the viewer to tune in to the next episode.

Adding a hook or a few in your blog post will keep your readers engaged. (A keyword.)

  • Now we come to something known as PAS.

This is an acronym for a format which all content writers use frequently to promote products. You will find PAS in written and film (VT) forms, such as television advertising.

PAS stands for, Problem, Agitate, Solve and is usually combined with a ‘call to action’ which I shall come to next. (Yes, those italics are a hook)painkillers

Let’s take an analgesic, a headache table advert as an example of how PAS works.

 P=Problem…..do you suffer from headaches, migraine or worse…..blah blah blah. This is the ‘problem’.

A=Agitate…..constant noise at work, the pressure of traffic while driving home, hyperactive kids back from school, loud music, etc. etc……leading to throbbing temples, pounding brain….blah blah blah. This is ‘agitating’ the perceived ‘problem’, (which may not exist… until it was suggested in the advert.

S=Solution…with Paracetron, the fast-acting solution for all head pain, you will be back to yourself in sixty miraculous seconds. What is more, Paracetron is gentle even on the most sensitive stomach…..blah blah blah….you get the gist.

The message broadcast is, this product is the solution ‘you need‘ to ‘solve the problem’ you never had…until now.

This is the basic format most advertising uses, most content and brand journalists are familiar with; in fact, it is almost an industry standard, because it works.

So, why not use this format to engage with your readers when you write your next post? Remember, written well, it works.

  • The last bit of advice I shall share today is the ‘Call to action’. This should come, for obvious reasons, at the end of your post. This is where you ask your reader to do something, for example, it could be to ‘buy now’ or ‘follow this blog’ even ‘donate to this cause’.

Take a look at some professionally written commercial websites selling products or services, note down how they approach the ‘call to action’, the various ways they word this without alienating the customer or reader. You can then devise your own ‘call to action’ in a way which would most suit your own blog.

I shall be writing soon with more tips and advice on the techniques of professional writing which you can use in your own blogs.

Follow this Blog NOW, don’t miss the chance of making your blog better.

(The above is a ‘Call to Action’…..so do it, go on, follow this blog NOW, you know you want too)


This fast-paced, suspenseful, funny, intriguing, drama of realisation, is a book about love and fear and hope and dreams, all rolled into one gutwrenching, humorous story wrapped in an emotional tale of ordinary people in extraordinary circumstances during a regular day, which becomes a little irregular when Rupert is snatched off the street.

Highs, lows, laughter, tears of joy and pain. The Abduction of Rupert DeVille flips from one to another without warning. A true rollercoaster of a book which defies genre.

AorDV Kindle/eBook     Paperback