I know it’s been awhile since I’ve posted. I wanted to share the cover for another Inkspell author’s debut novel: Tangled In Tennessee.
Tangled In Tennessee is Alexandra Holden’s debut novel. Released as an e-book August 2nd!
One summer. One city. One dream. One world famous boy band.
Mackenzie Tanner was happy to spend her summer in Nashville pursuing her dreams of making music without any interruptions—and then she met the world-famous boy band, Dear Juliet. Suddenly, Mackenzie is thrown into an adventure that has her living all of the experiences she only ever wrote songs about. A whirlwind romance and a boy who always gets what he wants turns Mackenzie’s summer into the biggest, scariest adventure of her life.
Visit tangledintennessee.tumblr.com for details
Happy Book Birthday to Jivin’ Tango by fellow Inkspell author, Connie L. Smith.
Lila and Austin have known each other since she befriended his younger brother when she was a toddler. In fact, since her parents moved from her hometown, Lila’s lived with Austin’s family. The two are friends, though more of the teasing, taunting breed than the BFF variety.
But all it takes is one moment for everything to change…
For Austin, that moment comes when Lila performs a rumba in the school’s auditorium to qualify for the state dance competition, the young woman on stage so far-removed from the little girl in his memories.
For Lila, the moment is a reflected image of Austin preparing for prom, the guy standing in front of his mirror hardly resembling the child that spent so much of his youth pestering her.
Will they find a way to admit to themselves and their families that their feelings are deeper than friendship? And can Lila focus on this building relationship – and deal with her unstable ex – and still win the dance contest?
Austin’s gorgeous, smart, funny, ambitious, and athletic.
But he’s certainly not a dancer.
I learn that early in our miniature lesson, though it doesn’t bother me. No aggravation surfaces on his face if he misses a step, and his laughter when he completely botches a move proves contagious. He’s terrible, we both know it, and it’s about the most fun I’ve had in years.
When he messes up a particularly simple step, I cackle so much, I let go of his fingers to hold my palms over my mouth. “How could you miss that?”
Without a bit of shame, he shrugs. “It’s actually pretty easy to do on my end.”
“Well, I can see why I never picked you for a dance partner.”
He snorts. “Yeah, Trent was definitely the right way to go with that one. Now.” He takes my hands in his, glances down at his poorly functioning feet, then focuses on my face. “What did I do wrong?”
I have to bite down on my bottom lip to keep my amusement from showing, but I manage. Barely. “You know how some people have two left feet?” I wait for him to nod before I let humor take over my features. “You seem to think you only have one foot, period.”
He scrunches his brow. “What do you mean?”
“That’s what you did wrong.” I take a step back and drop his hands, thinking an example would be the best way to explain the problem. “You went here.” I put my right foot in place. “Then here.” My left foot hardly budges. “Then here.” I move my right foot about ten inches. “You should’ve moved your left foot more. When you didn’t, it knocked your balance off.”
“Something that simple?”
I roll my eyes at the disbelief in his tone, then lace our fingers again. “Yeah. Something that simple. Every step’s important when you’re dancing.”
“Huh.” The song changes, and it’s another slow number, one I recognize from Trent’s oldies collection. Johnny Rivers, singing “Slow Dancing.” I’m tempted to glance at Trent and his date to verify what I suspect—that he’s the one who requested the tune—but instead, I gaze up at Austin and find him grinning at me.
“Now this I can handle,” he brags.
I snicker and sink back into his arms…
About the Author:
Connie L. Smith spends far too much time with her mind wandering in fictional places. She reads too much, likes to bake, and might forever be sad that she doesn’t have fairy wings. And that she can’t swing dance. Her music of choice is severely outdated, and as an adult she’s kind of obsessed with Power Rangers. She has her BA from Northern Kentucky University in Speech Communication and History (she doesn’t totally get the connection either), and is currently working on her MA.
Blog/Main Site: http://clsmithbooks.blogspot.com/
In today’s Fiction Friday, I’m sharing some advice I got from my editor Rie Langdon, when she was working with me on my book, The Angel Killer. As a writer, I’m always looking for new ways to get deeper into the character’s point of view (sometimes called “Deep Voice”). Rie gave me some great tips on how to use active and passive voice to ensure it’s consistent with the character’s viewpoint. But first, I’m going to explain a little bit about…
Active vs. Passive Voice
In writing, sentences fall into two types of construction: active or passive. If the emphasis centers on the subject, the sentence is considered active. However, if the emphasis is on the object (that the action is being performed upon) then the sentence is passive.
Consider the following:
Active: Many people attended Friday night’s concert.
Passive: Friday night’s concert was attended by many people.
There are many sites out there explaining active and passive voice. As a writer, I’ve learned that active voice is stronger than passive voice, because it gives a greater sense of clarity of who is doing the action. But sometimes, the use of passive voice is helpful. For instance, passive voice can be a way to show a character’s viewpoint.
Passive Voice in Character Viewpoint
When using passive voice, consider the main character’s point of view.
When writing from the point of view of a main character, that main character would primarily use active voice to describe their own actions. They would then use passive voice to describe another person’s movements or actions being done to them. For example:
I ran my palm down the length of her arm as her fingers fiddled with the top button of my shirt.
See how, as the viewpoint character, the main character (the “I” voice) is active (“I ran my arms”) while at the same time the character speaking perceives *her* actions as happening to them, more passively (“her fingers fiddled”).
Generally speaking, the viewpoint character should be the active character within that scene.
In some cases, however, you might accidently include a phrase where the viewpoint character’s actions are described as happening to them, rather than as something they are actively doing. There are times where you want the viewpoint character to be passive in a scene… let’s say the viewpoint character is getting beaten up, for example, and then this is a great time to disembody that character’s actions:
My hands wouldn’t make fists as Karl pummeled me, and my eyes closed.
Now contrast with an active presentation:
I couldn’t make a fist to return Karl’s punches; all I could do was close my eyes.
Both are valid choices, and their difference is stylistic. Having body parts moving on their own only works in a scene where you want to emphasize the POV character’s lack of power in a situation, or if it’s an automatic response (my heartbeat raced in my chest).
Making these small adjustments, you can help convey, in a manner that is both sneaky and elegant, the deep point-of-view of a character within a scene.
Thanks for reading! I’m always open to suggestions. If any of you know of some other uses for passive voice to convey character viewpoint, please comment below! Thanks!
This summer will be my second anniversary of working with my current writing group. These three authors have been by my side through thick and thin. They’ve helped me edit my second book and get it ready for publication, and they continue to work with me on my third. I’ve come to learn so much from them and value their feedback as much as any editor’s. I’ve also come to truly love reading their work.
Beyond that, though, they have become my friends. They’ve stood by my side at book launches, helped me write book blurbs, been willing to catch my clichés and repeated words, and put eyes on my writing while it’s still naked and swaddled in the loose writing of its infancy stage. They have been doulas and midwives to the birth of any of my writing projects.
For me, as far as strengthening my writing is concerned, a good writing group is worth more than emeralds.
Recently, I attended a session on how to put together a writing group. The session gave us some best practices and then provided an opportunity for people to mingle and potentially connect with future group members.
The best practices were very helpful. I found I’ve followed most of them myself, so I thought I’d share them and include some of my own.
Best practices for starting or finding a writing group:
Know Yourself and What Your Needs Are
At the session, they used the term writing group instead of critique group. My group calls itself both. But you can have a writing group without doing any critiques. It simply depends on what you want to call it and what your group does when they meet. (It’s like a book club can sometimes become a book and wine club!)
The following are questions to ask yourself to assess yourself and your own needs. The more clear you are with yourself, the easier it will be to find what you’re looking for.
What are your goals as a writer?
This can be:
- the form you’d like to do: short fiction, poetry, novels, or all types.
- the genre of writing: memoir, non-fiction, fiction: children’s, literary, historical, romance, thrillers, mystery, sci-fi, fantasy, etc.
- the audiences you’d like to reach: Children’s (picture books through middle grade and young adult fiction), New Adult, Adult.
- the writing skills you’d like to master: to get stronger in dialog, to get stronger in prose, to master epic iambic pentameter, etc.
It should also include:
- the word count you’re aiming to write (or one short story or how many poems) and how often you’ll be writing.
- your publishing goals. (Are you writing for publication under contract? Are you writing for submission to agents and editors in the near future? Is your publication goal more distant? Are you entering writing contests? Are you writing for the pure joy of it and to master the craft?)
What do you hope to get out of a writing (or critique) group?
This would be why you’d like to join a group and what you hope the group can help you with.
Where are you at in your writing process?
- How often do you write? How much time do you have to contribute to a group and give feedback.
- List a few of your strengths as well areas you know are weaknesses.
- List five adjectives to describe yourself as a writer.
Once you know your own strengths…
Look for Members with Similar Goals and Complementary Strengths
One of the things I’ve found truly works is that the colleagues I work with have similar motivations to mine:
- we write regularly
- we’ve been published and are writing professionally to be published again
- we frequently upgrade our writing skills by attending workshops and courses, or by reading books on craft.
This isn’t how it has to be for everyone. In fact, there are many reasons to join a group. Here are some I’ve heard:
- to reach out and talk to other writers to feel less alone (definitely a benefit)
- to set deadlines that would motivate yourself to write
- to meet and write in cafés (this would be primarily a writing group versus a critique group)
- to brainstorm ideas, seek friendly advice, and learn more about the craft.
At a session I recently attended, I was the only person in the room who was writing to a publication deadline.
However, someone working to a publication deadline might not be well-suited to work with a newer writer who hasn’t written in over a year and simply wants a group to hold them accountable. The energy of the group may dissipate.
The same might be the case if you mixed children’s picture book writers with writers of erotic fiction. Sometimes, there are cross-over skills, and sometimes not.
Complementary strengths is about finding people who are strong where you are not. In turn, you are strong where they need help. When you find this, it is a gift indeed. In my group, it just happened. We all found ourselves looking at different things, and sharing what we had learned so far on our writing journeys. A synergy happened where we were each inspired to learn more from each other. Somehow, it all worked out but it came from….
In my group, we had an initial meeting where we talked about the kind of feedback we wanted. How we needed to hear both good and bad, and yet, we wanted the truth.
First and foremost, we needed to have each other’s best interests at heart.
The topic of building trust is a big one. Each of us had unpleasant memories from some groups (especially open groups). But we found that agreeing to act from this core belief in helping each other and wanting the best for each other was a good start.
Everyone has different trust levels, so sometimes it’s a good idea to talk it out and find out what each group member needs.
Agree Upon Guidelines
It’s important to decide on some details up front. You don’t have to organize everything, but a few things do best if you’re organized, such as:
- Where to meet (in person, via Skype, only via email, etc.)
- When and how often to meet
- How much to share and how to share it. (Some groups stagger the sharing, others allow everyone to share at each session)
Some groups meet and read aloud their pieces and people critique on the spot. Others, like ours, submit their work ahead of time. As a group, decide on what everyone wants to do, and what works.
For example, our group meets once a month and we would send our pieces to be critiqued four days ahead of time. We set a word limit (guideline) of approximately 2,500 words or a chapter. We mark up each other’s work and share it with each other by speaking to it, versus just sending that marked up document to our colleagues.
Learn How to Communicate with Each Other
This topic is a bit of a wiggly one. We all know how to communicate, right? After all, it’s what we do.
We met in person, so we could read each other’s cues and body language. We soon discovered ways to highlight the things we liked in the piece – sometimes it may take more work. However, if you’re lucky, you’ll find people’s work you love.
Here are some other things to consider:
- Find out what boundaries exist for group members and how they like to be communicated with.
- Lead by example: show others how you’d like to be treated (probably with respect and kindness) but also stay open to different communication styles.
- Be mindful of reactions. Learn to read body language and non-verbal cues.
- Take time to discuss what is working and what isn’t for the whole group.
Learn How to Give Feedback
I could write an entire post on this and still not cover it, but it’s good to start with a few ground rules:
As the person receiving the feedback:
- Remember the spirit in which the feedback is offered (they have your best interests at heart!)
- It is all right to state what kind of feedback you need ahead of time. For example, do you simply need it looked at for story arc, or for character, or do you need a line edit? Etc.
- Listen to all feedback before responding. Do not be defensive. (This can sometimes vary depending on the personality of the group. A writing group can be like a family; some are well-mannered and formal, whereas others are passionate and animated.)
- At the end, ask questions for clarification.
- Everyone sees things differently. It’s okay to filter information. It is your writing, and you can take the feedback or leave it.
- However, if you have several people stuck on the same area of a piece, it may need work.
As the person giving the feedback:
- Ask yourself: Is it helpful? Is it kind and from the heart? (I believe things can be truthful and kind)
- Use “I” language to give your impressions.
- Ask questions, such as: Why did your main character show up for the event 15 minutes early? What did you mean when you said ____?
- Look for the positive as well as areas for improvement and sandwich more difficult feedback between possible corrections.
- Gage the person whose work you’re reviewing. Are they tired or overwhelmed? Vary your feedback accordingly.
- Remember that it is not your story, so do not be attached to someone taking your feedback.
There you have it, some best practices on writing groups. What are some of yours?