Showing posts with label Jane Choate. Show all posts
Showing posts with label Jane Choate. Show all posts

Thursday, January 7, 2016

WHY GOALS AND RESOLUTIONS DON’T WORK

welcome guest blogger, Jane Choate


It’s that time of year again.  We start the year with grandiose goals and enthusiastic resolutions. “This will be the year I sell a book.”  “I will write a thousand words a day.”  “I will submit five proposals every month.”  All of these are great, but they don't take into account the real reasons we aren't already doing these things.  If I really wanted to write a thousand words a day, I’d do so.

I had to do some soul-searching and some pragmatic reasoning (never my strength) to discover why I couldn’t keep my writing resolutions.  Here are what I came up with:

Resolutions don’t work.  Even very specific resolutions like “I will write a hundred words (or a thousand or ten thousand words) a day” don't work without a plan.  It’s great to set a goal.  Hooray.  But a goal is just that.  A goal alone won’t earn you the results you want.   It won’t make itself come true.  Someone—you—has to do the work.

Figure out what that work entails.  If you want to write a book this year, break it up into steps.  What do you need to do first?  Decide upon what kind of book you want to write comes to mind.  The type of book you write will dictate length, tone, research, and a whole bunch of other things.  What else?  Decide when you will write  In the morning before you go to your day job or before you get the family up?  In the afternoon?  In the evening?  At two a.m. when the rest of the family is sleeping?  Work also involves having the right tools and equipment.  If you don’t have the proper computer and software and other tools, you are setting yourself up to fail.  You wouldn’t expect to do carpentry work without the right tools; likewise, you shouldn’t expect to write without the right tools.  Do you need additional training/education to do the work (writing)?  




Understand what it takes to make your plan work.  Understanding what it takes to make your plan work is key.  Part of that—a large part—may be understanding what you need to give up to make your plan work.  Do you need to give up lunches out so that you can write during your lunch hour?  Do you need to give up some socializing to make time to write?  Do you want to quit your day job and devote all your time to your writing?  Do you have the financial freedom to give up your day job?  Each of these decisions requires a well-thought out plan and then the commitment to stick to it.

Recognize the underlying reasons for why you haven't succeeded in the past.
Many of us have tried to lose weight.  If you have succeeded in that, a big congratulations.  You are one of the few who has stuck with it.  Why haven’t the rest of us succeeded?  Lack of commitment.  Lack of support from significant others.  Whatever the reasons, something was holding you back.  It is the same with writing.  If you haven’t succeeded in the past or haven’t succeeded to the extent that you wanted to, something is holding you back.


 

In examining your schedule, do you feel you don’t have the time to devote to your writing?   Are you swamped just trying to keep up with your regular job and taking care of a family?  Perhaps you have an elderly parent to care for.  Whatever is laying claim to your time, identify it, then see if there is a way you can carve out an hour or even a half-hour for yourself every day.  Barter or trade tasks with someone else and then use that new found time for your writing.  (It doesn’t do any good to free up some time and then not use it for your writing.)

What if you have the time, but you lack support from the important people in your life?  This is a tough one.  If someone is belittling your efforts to write with comments like “Why are you wasting your time on that—you’ll never sell anything,” you have my sympathy.  Such comments are hard—make that nearly impossible—to overcome.  If this is the underlying reason you haven’t succeeded in the past, it is time to silence those voices in whatever way you can.   One solution may be to keep your writing private or to share it only with a writing colleague or writing chapter. 

Change your truth.  Before you can change your truth, you need to identify it.  What is the truth that’s keeping you from reaching your goals?  Bear in mind that what you call a truth may not be a truth at all.  It may be another individual’s labeling of you. 

One truth that I allowed to dominate my thinking for years was a rejection letter early in my career.  In this scathing letter, the editor suggested that I “rethink my desire to be a writer” and stated outright that I would never sell or publish a book.  She concluded with the death knell to any project, “Good luck in placing your manuscript elsewhere.”  I admit it:  I was devastated.  It didn’t help matters to realize that she was entirely right about the manuscript.  It was terrible.  Horrible.  Filled with cliches, plot inconsistencies, wooden characters, and just plain poor writing.  Yes, she was right about that book.  What she wasn’t right about was me.  She didn’t take into account my persistence, my desire, my stubbornness that, yes, someday I would sell a book. Still, I allowed this letter to define me.  I kept writing, kept submitting, but I didn’t believe in myself.  Not until I let go of this “truth” did I free my imagination and my heart enough to write something that would sell.  And then I did it again and again.  Not that there weren’t rejections along the way.  There were plenty of rejection letters (and there still are), but I didn’t let them sway me from making my dream come true. 



Another “truth” that I permitted to define me was my father’s-in-law negative comments about each little success I achieved.  It got so bad that I could barely talk about my writing or celebrate a sale because I knew if he heard about it, he would demean it … and me.  If this man—intelligent and educated and a good person in many ways—thought so little of my writing and me, why should I keep trying?  Finally, I learned to let go of his mean-spirited remarks and reminded myself that his words didn’t define me any more than did those of the editor. 

This is a long-winded explanation to say that I dismissed these “truths” from my life, but I had to replace them with real truths.  I had to change the so-called truths that had colored my thinking for so long.  What did I come up with?  “I am a good writer who is getting better.”  What truths are holding you back?  And what can you replace them with?


It’s January.  What kind of writing year are you going to have?  It’s up to you.

Hi Everyone, Audra here. Jane always has such wisdom and encouragement to share. I'm so glad she joined us today! AND, did I mention, Jane has a new Love Inspired Suspense out this month! Jane is giving away a copy of The LIttlest Witness today. Be sure you leave a comment to be in the drawing!!




When Delta Force soldier Caleb Judd's brother and sister-in-law are murdered, the killers turn their attention on his orphaned nephew. Caleb's new mission: protect little Tommy—who hasn't said a word since witnessing his parents' deaths—and figure out who's targeting his family. He needs help, and security expert Shelley Rabb is perfect for the job. But Caleb's used to calling the shots, not taking orders…even when they come from a beautiful former Secret Service agent. Shelley knows firsthand what can happen when business becomes personal, so she vows not to get too close to Caleb and his nephew. She will risk her life to make sure they're safe, but will that mean risking her heart, too?

Jane McBride Choate has been making up stories for as long as she can remember.  When she was in grade school, her friends asked her to tell them stories about themselves.  She complied gladly and told outlandish tales, complete with damsels in distress and the heroic princes who saved them. Now her stories are likely to include a kick-butt woman saving a prince ... and saving the day as well. Writing--and getting paid to do  it--is a dream come true.

Thursday, September 25, 2014

ATTRIBUTES OF CHARACTERIZATION


Characterization is key to any novel, whether that novel be character-driven or plot-driven.




We all know to make our characters interesting, sympathetic, memorable.  We know to draw them with verve and vitality. We know to give a physical description. We know not to make them perfect (perfect is boring and allows no room for growth). 

But do we delve deeper into other attributes?
           
Moral compass.  What is your protagonist’s moral compass?  How does he react to a situation where he has a choice between right and wrong?
  
Image provided by Classroom Clipart

If he is honest to a fault, why is he that way?  If his honesty vacillates, why is he that way?  If, upon finding a wallet, does he look for identification to return it or does he rifle through it to take whatever money is in it?  If he chooses the latter, does he later feel remorse?  Or does he feel justified in taking the money, believing that if someone were foolish enough to lose his wallet, he deserves to lose his money as well?  

What is your character’s attitude about racism?  Will he stand up for the underdog or is he more likely to go along with the crowd when it comes to making fun of someone who is different?

Family background.  What is your character’s family background?  What is her place in the family?  Books have been written upon birth order in influencing one’s behavior.  The oldest child is frequently a leader, success oriented, determined to forge his own path in life.  The middle child is often a peace-maker, the baby of the family somewhat spoiled, even a show-off.  With five children in our family, I can clearly see the effects of birth order.   

Image provided by Classroom Clipart

Of course, these are generalizations.  Use them as a jumping-off point. Aside from birth order, there is the familial role. Have you noticed that returning to your parents’ home can trigger a reversion to the role you played as a child? My sister and I laugh (and sometimes cry) over the fact that we assumed the roles we had as children when we visited our parents.  Twenty, thirty years later, we still return to the roles we played, or those that were foist upon us, when we return home.

Social background.  Who are your main character’s friends?  With whom does she feel comfortable hanging out?  Conversely, with whom does she feel uncomfortable?  

Consider the example of a fifteen year old girl who has gone to live with her grandparents after her parents’ untimely death in a car accident.  She is plunged into a new town, a new school, a new life.  At school, does she choose to hang out with the nerds because those were her friends in her previous life?  Or does she go the other direction and find friends with the kids who cut class, experiment with drugs, shop-lift?  Does grief prompt her to choose such a vastly different social group?  Or does her grief send her into a shell where she refuses to involve herself with anyone, even her grandparents who love her?   

Image provided by Classroom Clipart


Another part of social background is that of socio-economic status.  Does your character come from a well-to-do home with all the advantages?  Or does she come from a home where the parents are barely scraping by to make a living? Are books abundant in her life or are they a scarcity?   Do you see how this connects with the attribute of family background?

Cultural influences.  Everyone has cultural influences, whatever they ethnicity.  I grew up in Washington, DC, but I count the south as part of my culture because my mother came from Tennessee and brought many of those customs with her.  The language, the cooking, the attitudes of the south colored our family and continue to pop up every now and then and make themselves felt in my writing. 

Image provided by Classroom Clipart

What are the cultural influences on your character?  Did he grow up in a family that emigrated from Germany as did my brother-in-law?  Do his father’s parents, who hail from Russia, live with his family?  These factors can have a profound effect upon a child and his thinking, from the way dinner is served to how holidays are celebrated.  

 Characters do not develop in a vacuum. Are you beginning to see how all of these attributes—and others—are connected?  A character’s moral compass is directly related to her family background. Cultural influences make themselves known in the social backdrop of her life.
*  *  *

Join Jane in celebrating her sale to Love Inspired Suspense!
  Keeping Watch is an October 2014 release,
 and someone in Seekerville will become the proud owner of a copy by just leaving a comment. Check back on Saturday and see if it's YOU!

Jane McBride Choate has been making up stories for as long as she can remember.  When she was in grade school, her friends asked her to tell them stories about themselves.  She complied gladly and told outlandish tales, complete with damsels in distress and the heroic princes who saved them. Now her stories are likely to include a kick-butt woman saving a prince ... and saving the day as well. Writing--and getting paid to do  it--is a dream come true.



Deputy D.A. Danielle Barclay has been threatened, but she is not impressed when her dad hires former Delta Force soldier Jake Rabb as her bodyguard. The stalker's threats continue, and it becomes apparent that there is a personal connection. Danielle is determined to survive and cannot imagine who hates her this much. Could it be related to her mother's disappearance four years ago? Just when they think they may have things figured out, they realize they may be wrong. Will it be too late? Choate makes a convincing Love Inspired Suspense debut. The strong-willed, independent heroine demonstrates that prayer is the ultimate protection.








Thursday, February 6, 2014

The Art of Writing for an Anthology

Good morning, everyone! Audra here. Please welcome Jane McBride Choate back to Seekerville today. Jane has written everything from novels, to short stories, to magazine articles...to almost anything else you can imagine. Not only is she a wonderful writing talent, but she's such a sweet, nice person, too. Encouragement is something Jane never falls short of. I'm excited to have her join us today.

Since it's cold beyond compare across most of the country, I've loaded the buffet table with steaming cups of cider, an industrial size Keurig with coffee and tea flavors galore, AND a frothy cocoa maker with whipped cream and chocolate shavings on the side. Muffins and croissants to the left; cherry almond oatmeal on the right. Grab a snack and let's chat : )




WRITE SHORT AND BE PART OF AN ANTHOLOGY

Want to take your career to the next level?  Want to earn more name recognition?  Want to have something come out in between books?  Want to gain more respect in the book industry? 

Consider being a part of an anthology.

Being part of an anthology can serve as a prestigious boost to a writer's career. How can you be selected to be a part of an anthology? If you have an idea for one, how can you recruit other authors to join and how can you propose the idea to an editor?  What’s included in a proposal for an anthology?


How do you find out what editors are seeking authors for collections?

-               Get active on social media.  Many editors have their own blogs now.  They talk about current projects as well as upcoming ones.  Sign up to be a guest blogger on other authors’ blogs.  This is a way to get you name out there. 

-               Attend conferences.  Don’t limit yourself to national conferences, though they’re great.  Many regional conferences have editors as guest speakers.  Find a way to make a attending a conference one of your writing goals for the year.   Make yourself known to the editors in attendance.  A great way to do that is to volunteer.  Offer to pick up an editor from the airport or take her to lunch.  One-on-one time is one of the best ways to let an editor get to know you and what you can do.   Conferences are also a great way to meet agents.  If you don’t already have an agent, ask yourself if this is the right point in your career to get one.  Agents are in the know about what editors are looking for.

-               Be active in your local writers’ chapter.  A lot of industry news is passed around at chapter meetings.  Once again, volunteer.  Write articles for the chapter newsletter—another way to get your name in front of editors as many editors read newsletters.

-               Develop a reputation as a can-do writer.  Make sure that you meet deadlines and are pleasant to work with. Don’t kid yourself:  if given a choice, editors will choose the pleasant person over the unpleasant one. 



If you are proposing an idea for anthology, you face a different set of challenges.  First, know what your proposal should include:

-               A list of contributing writers and short biographies, including credits of each.  You will probably  want to choose writers whose style and outlook is similar to your own.

-               Writing samples.  Unless you have a truly impressive publishing track record, it is difficult to sell an anthology concept without samples.   Compile samples of the writers who have accepted your invitation to be a part of the anthology.

-               Synopsis of individual stories.  Make these as detailed as possible.

-               Media contacts.  What platforms do you and the other writers have?  What is your social media exposure?  What are your plans to help market the collection?  (You have thought that through, haven’t you?)  In other words, what can you do to make it easier on your publisher and the marketing department.

-               Competition.  Publishers want to know what similar books have been published in recent years and how they did.  If you’re proposing an anthology of fairy-tale based stories, do your homework and determine what, if any, similar such collections have been published. 

-               Audience.  Be clear about who your audience is and why they would choose your anthology over a similar one.


In addition to answering the above questions, you have other factors to consider as well.   Ask yourself the following:

Do you have a clear vision of the anthology?  What do you want to say to your readers?  If you can’t give a one sentence description of your vision of the anthology, maybe it’s time to go back to the drawing board and re-think it.

Have you decide how many authors should be included?  Generally, anthologies have three to four authors.  However, there are collections where there may be twenty or more stories.   (The Chicken Soup collections are a good example.)  Obviously these stories are considerably shorter.

How do you choose which authors to include?  Normally this would be the editor’s purview, but occasionally an editor wants the creative head (that’s you) to suggest names.  Of course you’ll want writers who can deliver a high quality story in the allotted time and whose writing style complements your own.

What is the connecting theme of the anthology?  Do you have the main character of each story receive a letter that changes his/her life?   Will the stories be connected through recurring characters or is the theme the only tie-in?

It’s your job to ask these questions and to know the answers.

Finally, if you are not interested in proposing an anthology but would still like to be considered as a contributor, what can you do to increase your chances of receiving that coveted invitation?

-               Search out calls for anthology submissions on websites such as The Association of Writers & Writing Programs and publications such as CBI, SCBWI, Writer’s Digest, The Writer, Poets & Writers, Writer’s Market, and others.

-               Do an Internet search for “writers for anthologies” or some other combination of the words.  If you find a collection seeking authors, take time to craft your very best submission before sending it off.



In an effort to find out just how being a part of an anthology works, I went to friend and author Amanda Cabot.  With more than 30 books to her credit, Cabot, a popular speaker and workshop presenter, has written both for the secular and the inspirational market.

Choate:  How do you, if you have an idea for an anthology, make a proposal to an editor?


Cabot:  When I was unagented, all I did was call my editor and ask, “What do you think ...?”   Her first reaction was a decided lack of enthusiasm, but three months later, she called and said she’d decided to proceed with my idea and invited me to write the title novella.  She chose the time period for the stories and selected the other authors.  Now that I work with an agent, I approached my agent with the idea and asked her to propose it to my editor.  In this case, I had more than a concept.  I also proposed timeframes, settings and other authors.  Fortunately, both my agent and my editor liked the idea.

Choate:  How do you go about choosing a theme?  Do the characters in each story carry over from one story to the next?

Cabot:  Rather than a theme, I think in terms of a hook.  In the case of Sincerely Yours (April 2014, Revell), the hook was that four women’s lives were changed by the letters they received.  Our stories are standalone, each taking place in a different time period, so there’s no connection between the characters.  Other anthologies have continuing characters.  I haven’t been part of any of those, but I suspect that they’re more difficult to write, because they require coordination among the authors.

Choate:  How do you choose the other authors included in it?  Or how does an editor choose the other writers?

Cabot:  Like so many things in this business, that varies.  For my secular anthologies, the editor chose all the writers.  For the inspirational, I proposed the other authors and, with one exception, my agent and editor agreed.

Choate:  Do you think being in an anthology has given a boost to your career?

Cabot:  I have no concrete sales numbers to prove it, but I’d like to think so.  My theory is that the more often readers see your name, the better.  And being in an anthology with authors whose readership is a bit different from mine can only be helpful.

Choate:  How do you think sales of anthologies compare to full length books?

Cabot:  Christmas anthologies are noted for having high sales, in part because it’s such a busy time of the year that readers are looking for shorter reads.  I don’t know how other seasonal anthologies’ sales compare.

Choate:  What are your suggestions for a writer who has been asked to be a part of an anthology?

Cabot:  It’s pretty much the same as for any kind of writing.  Be professional.  Deliver a clean manuscript on schedule.  And, if your anthology involves connected stories, contact the other authors immediately to begin developing a communication plan.  The last thing another author needs is to be putting the finishing touches on her manuscript and learn that you’ve made changes that will impact her story.

Choate:  What do you think is the most difficult part of writing for an anthology?

Cabot:  For me, it’s the shorter length.  I’m used to having more than 100,000 words to tell a story, and compressing a story into 20 or 25,000 is a challenge.  The key, I’ve discovered is to keep the story tightly focused.  There’s no room for subplots, and secondary characters are exactly that – secondary.


The author of 32 books and more than 400 articles and stories, including 11 for Chicken Soup, Jane McBride Choate has been writing ever since she can remember. Penning stories about love and relationships is both a vocation and avocation for her.

Visit Jane at her blog The Gratitude Project, and for all you American history buffs, Jane also hosts the The Patriot Pages. Both are great reads. Check them out!



AND we have a giveaway! Jane is offering a copy of her latest contribution to an anthology to a Seekerville commenter today.

Chicken Soup for the Soul: Miracles Happen: 101 Inspirational Stories about Hope, Answered Prayers, and Divine Intervention

 

Check the Weekend Edition for the winner!

Tuesday, March 5, 2013

WRITING-CUT AND PASTE STYLE WITH JANE CHOATE

Good morning everyone, Audra here. I've invited Jane Choate to join us today. I met Jane at my very first RWA meeting at our local chapter, Colorado Romance Writers, waaaay back in 1993. She was kind and inviting to a visitor scared to death of walking into a daunting room filled with real romance writers. Now, years later, Jane and I attend a different writers' group together where she continues to encourage and share her wisdom and knowledge with friends and writers.

Jane has unique insight into many aspects of writing including blogs, articles and of course, romance novels. At one CRW meeting, she described her method of writing a novel. She described my creative process to a T. I asked her to share her story with Seekerville. She said yes : )

WRITING-CUT AND PASTE STYLE

Did you know that movies are not shot in sequential order?  Scenes are shot for convenience, efficiency, and cost-effectiveness.  For example, if a movie contains a number of scenes that occur in the mountains, they are shot all together, then cut and spliced into the proper place in the movie.

I only learned this recently as I lamented to my husband (once again) that I was at the point in writing a book where I needed to put my scenes in the proper order and write the dreaded transitions to connect them.

He consoled me by telling me how movies are shot.  “If it’s good enough for the film-makers, it’s good enough for you,” he said.  This was said with a slight smirk.  My husband is a mechanical engineer who approaches everything in linear fashion.  My writing, indeed my whole life, is anything but linear.

Eager as I was to justify my haphazard way of writing, though, I embraced his words.

Now that you know my deep, dark writing secret, I’ll let you in on another one:  writing this way is hard work.  It means keeping track of where you’ve placed certain scenes and retrieving them.  It then means finding the right spot to place the scene.  And, just when you think you’ve figured it out, you have to move it again.

And again.

How did I come to this point?

A lot of the reason comes from the fact that I started writing when I had three small children at home.  Writing came a distant tenth or twentieth or a hundred and thirty-second on my list of things to do.  It was fit in between changing diapers, throwing a load of laundry into the washer, and wiping off sticky fingers.

Again.

This was in the pre-computer (some would say prehistoric) days.  I wrote long-hand, then transcribed my scribblings to an old typewriter which I kept plopped on the kitchen table.  It was moved for mealtimes, then plopped back there again.

I snatched whatever moments were available for my writing.  As you can imagine, this resulted in a mish-mash of half-finished paragraphs and scenes that were cliff-hangers only because I didn’t know what would happen next or when I would get back to them.

Meanwhile, time and technology marched on.  I had progressed to a computer, added another baby to the family, and was slowly figuring out word processing.  My writing space moved to the laundry room, where my computer sat proudly on a table that served as laundry-folding central.

I kept writing.  I submitted books, only to have them rejected.  It was at this point that I found Colorado Romance Writers and, through that chapter, discovered RWA.  I remember my elation to discover a group of writers who were experiencing the same struggles I was and dreamed the same dreams that I had.

And then it happened.  I sold a book. Three years later, I sold another, then another.

But my writing process hadn’t changed.  If anything, it had gotten more chaotic.  Could that mirror my personal life, I wondered.  Our family adopted the little girl we were foster-parenting and now I had five children to care for.

Computers made it easier to cut-and-paste scenes.  I no longer had arrows drawn between lonely paragraphs.  Now I had little notes to myself inserted into the manuscript reminding me that I would need to move certain scenes when the time came.

So, let’s take a look at the disadvantages of writing this way:

- You have to keep track of what happens when and what follows that.  A timeline is handy.

- You have to write transitions.  I don’t know about you, but transitions are my bug-a-boo.  Writing how a character and the action move from one scene to another is awkward.  My words feel stiff and stilted.  

- You have to move scenes and perhaps whole chapters until the fit is right.  This is much like putting together a 55,000 piece jigsaw puzzle without a picture to guide you.

- You may end up throwing out chunks of writing when you discover that they don’t fit into your story any more.  (But don’t we do this anyway?)

Are there any advantages to writing this way?

- You don’t have to wait until inspiration for the next scene strikes you.  You can write any scene.  For me, knowing that I’m writing, making progress, is all-important.  At the end of the day, I want to look back at my writing and know that my story is moving forward, even if that movement is in a zig-zag pattern.

- You don’t waste time.  Your writing time is spent writing, not wringing your hands because you don’t know what happens next.

- You find some interesting surprises along the way.  These surprises may take your story on a different route, causing your characters to follow an unforeseen journey that strengthens the plot and avoids predictability.

Do I recommend writing this way? 

Yes.  And no. Try it.  You may like it. 

On the one hand, you may find that it frees your creativity in ways you hadn’t expected.  On the other hand, you may decide that writing out of order offends your sensibilities and sense of order.

A lot of your experience depends upon whether you are a pantser or a plotter.  Some refer to this as being right-brained or left-brained.  Over the course of selling thirty-two books (and writing a number of books that didn’t sell), I learned to accept my process and writing style.

 As always, learn what works for you, do it, and then do it all over again. 




The author of 32 books and more than 400 articles and stories, including 11 for Chicken Soup, Jane McBride Choate has been writing ever since she can remember. Penning stories about love and relationships is both a vocation and avocation for her.

Visit Jane at her blog The Gratitude Project, and for all you American history buffs, Jane also hosts the The Patriot Pages. Both are great reads. Check them out! 

AND we have a giveaway! Jane is offering one of her books to a Seekerville commentor today. Check the Weekend Edition for the winner!




Speedbo WRITES ON!  Comment =Prizes!