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Nink: Dialogue Tags

This article by Joanne Grant is from the January 2021 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

“What’s the fuss all about?” she asked, quizzically.

There are lots of “rules” in writing and with them a hive of opinions and debates. In this article I am going to bravely wade in with some thoughts on the dialogue tag “rule,” which is this: only use the verb “said” unless absolutely necessary. Now the chances are, you will have strong feelings about this use of said, and are firmly in the “for” or “against” camp. However, if you’ve never given it much thought until now, then I want to say “I’m sorry!” Because it seems that when it comes to the humble verb “said” there is actually a lot to be “said” about it!

So what is the fuss all about? I am here to put your mind at rest, offer up some tips and suggestions, and I promise, there won’t be a “rule” in sight. Let’s start by looking into the basic arguments between using “said” versus more descriptive verbs in dialogue tags.

Put simply, a dialogue tag serves to show the reader who is speaking. It is a tool to orientate the reader and smooth their passage through the story.

Against
Purists who argue for the use of “she/he/they said” only, do so because they believe anything else detracts away from the dialogue, action and intrudes on the story. Dialogue tags are functional and therefore should be “invisible” to the reader. There is also an additional argument that the use of alternative verbs, or heaven forbid, an adverb (see article tagline!) is at the best amateurish, or at the worse, just plain wrong.

For
On the flip side, those in the for camp could argue that relying on plain old “she/he/they said” is well, boring! It is creatively limiting when there is a wealth of verbs just longing to be whispered, muttered or shouted—why wouldn’t you want to pepper your prose with a little more flavour?

But which side am I on?
This argument made me think back to my school days where we were encouraged to find creative alternatives to “said” to expand our vocabulary and pep up our creative writing. I am sure the results were indeed “amateurish” and I can’t help but wonder whether the cringeworthy results of this language exercise have left a scar on some writers!

But as an editor, what do I think about dialogue tags? To be honest, I have never felt that strongly about them. That is because when they’re handled well, I hardly notice them—if they don’t bother me, I don’t bother them! I completely agree that their role is functional and can be near on invisible to the reader, but when I do notice them it’s usually because:

  • There is a lack of them and I have lost track of who is speaking—very annoying!
    or
  • They jump out at me by being ill placed, irrelevant, or just plain bizarre!—and ruin the flow of the story.

Now, my research shows that not all editors will feel as neutral as I do about dialogue tags. This suggests that it is rather a question of personal taste, which is why rules simply cannot exist—it is subjective. As a writer, therefore, how do you navigate this potentially divisive terrain?

Research
I always advise that you research the conventions of the genre you are targeting to give you a flavour of not only content, but also details such as verb usage in dialogue tags. Notice how they are executed, how frequently and whether it is a quirk of the writer, or if there is a convention across the genre. And if you find yourself reading for research but forgetting to notice dialogue tags, it’s likely because they have been handled beautifully. Go back and read with more detail to spot them!

Purpose and techniques
Once you’ve identified the preferred usage of dialogue tags it’s time to apply your learnings. Whether you’re in the “for” or “against” camp, it is still important to communicate clearly what your character is saying. The following examples can help you execute your chosen dialogue tag in an effective way.

Redundant tags
If you’re thinking of using a more descriptive verb or adverb, question whether they add information or meaning that isn’t obvious through dialogue and action. If nothing is added, it is likely redundant and you are in the dangerous territory of telling what you have already shown. Here is an example:

She slammed the door and glared at him. “How dare you talk to me like that?” she asked angrily.

The addition of the dialogue tag in this instance is redundant: “asked” due to the punctuation and “angrily” because it is clear from her actions that she is angry. As a result, the dialogue tag just adds words and potentially slows the pace of whatever the response will be. Using this type of action, followed by the dialogue can help eliminate the need for a dialogue tag entirely.

Aural tags
Whereas, if you want the reader to hear the dialogue and appreciate the volume of what is being said, for example, an aural tag such as “whispered,” “muttered,” or “shouted” can help. Not only can this bring dialogue to life in a way that isn’t obviously communicated through dialogue or action, it alters the meaning too.

There is a big difference between:

“I hate you!” she shouted.

“I hate you!” she whispered.

Obviously, the action around the dialogue will help to fill in the blanks, but If you were a purist, and simply went with “she said” then the action would have to do most of the talking. After all, the meaning of the words can be changed entirely depending on how they are delivered.

As you can see, there isn’t a right or wrong way! And plumping for “she/he/they said” only is actually more difficult that it may appear! Whatever side you end up on, and let’s be honest, there is a hybrid option available, it is all about finding what’s right to your author voice as well as the genre of fiction you are writing, and then finding a match with an editor who feels the same.

I appreciate it takes skill from the writer to execute tags in such a way that they fulfill their function and play an unobtrusive role and seamlessly bring the dialogue alive, but I can honestly say that I have never passed on a submission because dialogue tags—and you can quote me on that!

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Joanne Grant is an Editorial Coach with over 16 years of expertise working for the global publisher Harlequin. Joanne has edited hundreds of romance novels over the years and understands how to coach authors of all genres to deliver their best work. If you’re interested in finding out how she can help you achieve your writing goals, get in touch – Joanne loves to chat! For inspiration, tips and offers why not sign up to her newsletter, join her Facebook group Motivation for Writers! or connect on Twitter @JoanneMGrant.

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Nink: Taking A Peek At Website Privacy Policies

This article by Barbara Meyers is from the January 2021 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

Are you required to have a privacy policy on your website? If your website is based in the United States, the answer is yes—and you might be violating Federal Trade Commission (FTC) rules if you don’t have one. If your website reaches audiences in the European Union, you also must comply with General Data Protection Regulation (GDPR).

Not following compliance guidelines can lead to liability. Likewise, if you have a published policy but don’t follow it, someone could make claims against you for deceptive or unfair trade practices. Plus, those who view your website may be more comfortable knowing there’s a policy that spells out exactly what information you collect during their visit and how it’s used.

While most states have no laws regarding website policies, California and Vermont have been more aggressive in increasing privacy protections. The California Consumer Privacy Act (CCPA), took effect Jan. 1, 2020, and focuses on how businesses collect and use Californians’ data. Even if you are not a California resident, your website is accessible to those who are. CCPA is meant to address website operators selling data directly by using lead generation companies and direct marketers, or by sharing personal data with ad networks through cookies without disclosure. Violations fall under California Unfair Competition Law and can incur a penalty of $2,500 per violation.

Vermont recently signed into law legislation (Senate Bill 110) to address a number of issues related to data privacy and consumer protection, such as expanding the definition of personally identifiable information (PII) for purposes of data breach notification requirements for data collectors. Under the Vermont Security Breach Notice Act, data collectors are required, in certain instances, to report data breaches of PII.

The General Data Protection Regulation (GDPR) in Europe takes these rules a step further, requiring consent prior to data collection.

While everyone should have a privacy policy on their website, Layne Lyons, JD, says you especially should if you:

  • Collect personal information from residents of the state of California (you'll need to have a privacy policy which includes CCPA-specific requirements).
  • Collect information for a newsletter, giveaway or any kind of an opt-in where you give a freebie in exchange for their email—you should definitely make visitors aware of how you plan to use their personal information.
  • You sell via your website—in this case the need for a privacy policy is even greater.

What is a privacy policy and what is included?

Lyons explains that your privacy policy “tells your website visitors what information you collect, how you use that info, how you share it, how you store it, how you protect it and, very important, how they can opt-out if they want.”

A policy missing any of those key elements will fail to protect the business owner. Further, Lyons said, “The risk of not having a properly drafted policy is tremendous. Facebook has had billions of dollars of fines levied against it for failing to have one component of their policy adequately drafted and followed. It is essential that all of the elements be precisely addressed by someone who understands each facet and how to ensure compliance.”

Attorney Philip Nicolosi points out that often failure to write a proper policy stems from website operators not understanding the definition of personal data. For example:

  • In California, under the CCPA, an IP address is specifically considered an item of personal data on a stand-alone basis. Cookies use unique identifiers to identify a device in connection to its IP address. Uninformed website operators may incorrectly define and then not disclose what is actually collected and shared.
  • An open-source platform such as WordPress allows for the integration of millions of free and paid plug-in applications to facilitate operating the website. Those plug-in operators/creators may be collecting data through each website that has installed and uses the plug-in. In fact, one of the most common privacy policy mistakes is not understanding what is collected by third parties while operating a website.
  • The use of email marketing services such as Mailchimp gives these third parties access to personal data, such as an email address. In theory, using third parties to operate the website or for marketing purposes that have access to personal data in any capacity should be disclosed regardless of how such parties are using data.

The issue of data collection and disclosure is primarily all about controlling unauthorized selling and/or sharing of personal data without notification. The FTC Act controls data collection disclosure through restricting "deceptive practices." Not disclosing how an individual's personal identifying information is shared with third parties is deceptive.

How to create your policy

So where do you go to find legal documents for use on your web site? Both attorneys interviewed provide privacy policy and other legal documents for web-based entrepreneurs. Check out:

Keep in mind, however, the free sites may offer no support or any way to get your questions answered. A good policy includes several requirements regarding the setup for your website, for example Secure Sockets Layer (SSL), so it can be worth it to have someone to go to for assistance when you need it. SSL is a secure protocol developed for sending information securely over the internet. When you are asked to "log in" on a website, the resulting page is usually secured by SSL. If a web address starts with "https," the "s" after the "http" indicates the website is secure.

No matter if you do it yourself or get an expert to help with your policy, make sure your policy is written in easy-to-understand language. Lyons says she sees a lot of policies written in “impossible-to-understand legalese, filled with legal jargon and old English wording. Having clarity with all legal documents is empowering for an entrepreneur and will foster confidence and peace of mind.”

In the interest of full disclosure, I was one of those website operators who didn’t know I needed a privacy policy. I took advantage of Layne Lyons’ free web site review and half hour consultation before she drafted my website policies.

(Editor’s note: If you do not have a webmaster, your web hosting service can help you set up and install an SSL Also, many free plug-ins are available to help you set up the “This site uses cookies” banner that should pop up on your website when a visitor lands on it. This banner alerts visitors you are collecting data, and if set up to do so, one click can allow a visitor to review your privacy policy.)

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Barbara Meyers writes contemporary romance and women’s fiction. Her latest release is the romantic Christmas novella, A Family for St. Nick.

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Nink: Audio Books for Indie Authors

This article by Nicole Evelina is from the December 2020 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

Audio books are the fastest growing type of book in the publishing industry in the United States—and the rest of the world isn’t far behind. According to American Library Magazine, in 2019 audiobook sales increased by 16% and accounted for more than $1.2 billion in revenue, outselling ebooks for the first time by several million dollars. This means strong potential revenue for authors, so if you’ve been considering getting in on the trend, now is the time.

Before we get into the steps involved in making an audio book by working with a professional narrator (voicing your own audio books was covered in the October 2020 issue of Nink), a few caveats:

  • This article will focus on how indie and hybrid authors can create audio books. If you are traditionally published, your publisher will have a process for the sale of audio rights and will handle the creation of the audio book.
  • Getting audio books made is extremely expensive, so bear that in mind when you make your decision. The cost is based on the rate your narrator charges (which varies from person to person and is higher for Screen Actors’ Guild members) and the length of your book. This means if you write long books, you’re looking at an investment of several thousand dollars, so it’s a good idea to consider whether or not you’re going to make that money back.

Where to begin: pick a distributor
It may seem odd to begin with the distribution process, but you have to know who you are working with before you create your audio book. Authors have more choices than ever before, some of whom still make physical CDs. Here we’ll discuss the three most popular digital-only options:

1. ACX –ACX used to be the only game in town, but they have since been surpassed by Findaway Voices. Using ACX usually means granting it exclusive distribution rights (which means your book will only be available on Audible, Amazon and iTunes) for which you get full royalties (40%) If you want to go wide, ACX pays 20% royalties. It also offers a Bounty Program for referrals of first-time Audible customers, which is where you will make the most money.

ACX offers an option to pay your narrator through royalty share, in which you pay nothing upfront and instead your narrator gets a percentage of your profits. (Most professional narrators will not take this option and require a flat fee.)

ACX requires a seven-year contract, you can’t distribute to Overdrive and other library programs through ACX, and you have no control over your book’s price, nor can you put it on sale. (A friend tells me that if you’re stuck in an ACX contract like I am, you can get out of it by emailing them. I’m going to try it.)

For more information on audio rights, and how some authors have approached Audible directly, see the September 2019 issue of Nink.

2. Findaway Voices –Developed as an alternative to ACX, the two biggest selling points are more distribution points than ACX (around 45 at last count, including Overdrive, Walmart, Nook Audio and international channels) and full price control. This means you can put your book on sale anytime you want. Findaway Voices reserves the right to change your price later if it chooses but you still get royalties based on your original list price (just like what happens when Amazon decides to put your book on sale.) Speaking of sales, the company also partnered with Bookbub’s Chirp program, which is not only free, but regarded by many as the best audio book promotion tool currently available. To use Findaway Voices, you must be non-exclusive with ACX. While you’ll make 20% less on sales there, Findaway has more venues to help make up for it and you make 80% on those. Findaway allows for full audio book production paid up front (Audioworks) and Voices Share, where the author pays 50% of production up front, shares 20% of earned royalties with the narrator and offers exclusivity with a buyout option. More information on the later can be found here.

They also don’t offer a bounty program and their giveaway codes only work through Author’s Direct, not Audible.

3. Working directly with a studio – I did this with the audio book for my romantic comedy Been Searching for You because I wanted to work with a specific narrator and she only worked with Deyan Studios in Los Angeles. If you choose this option, you can still use ACX/Findaway for distribution or go with another company like Author’s Republic.

Auditioning narrators
Once distribution is determined, your next step is to audition voice talent. Most companies offer a database with samples you can listen to for free (you have to begin a project with Findaway before you can access its database). You can also search by gender, voice age, accent, and other criteria that may be important to you. When you set up your audition sample (a passage from your book that all narrators will read for you), note which accents are needed for your book and if you can, choose a sample that includes those so you can hear how they will voice them.

When you’ve settled on your first choice, you will make an offer. You may negotiate or come to an agreement immediately. Be sure to write back to each person you auditioned, even if you don’t choose them, so they aren’t left in limbo. Plus, it’s good business and polite.

In the case of Been Searching for You, since I had Ashley Clements in mind, knew she’d narrated before, and I was familiar with her work, I contacted her directly. She said yes, but because she doesn’t have her own studio, she works with Deyan Studios in LA. So I talked with them about their services and fees. Once we had a signed agreement, they contacted Ashley and extended an offer and she agreed. In this case, no audition was necessary, but they have a casting service and large pool of talent if that’s something you choose to pay for.

Prepping for recording
The next step after you and your narrator(s) sign on the dotted line is for you to provide them with information that will help them get into character. The most obvious part of this is the script they will read from. This includes any author’s notes or previews of future books you’d like them to read.

You should also provide your narrator with a document containing any words that might have an unusual pronunciation. This can include character names/places/foreign language phrases/unusual words. If you think it might be questioned, tell them how you want it pronounced—better safe than sorry.

You also will provide direction about each character (at least the main ones; how much you care what the secondaries sound like is up to you). There’s no right or wrong way to do this. I give a bit of insight into their minds, motivations and relationships with other characters, then talk about any vocal requirements I have (accents, certain tones/moods). I also give the actor or actress that inspired the character. And in case the narrators want additional insight, I give them the links to my Pinterest board and the playlist for the book.

Many studios offer research services like this for a fee, but I like to do it myself because no one knows the book or its characters better than the author.

The recording process
This will vary depending on which company you use. For ACX, your narrator will submit the first 15 minutes for your approval. At that point, you’ll listen and offer any notes you have, both on general performance and on changes that need to be made (lines read wrong, things that are hard to understand, etc.) Once you both agree the first 15 minutes are fine, your narrator will record the rest of the book.

How you handle edits will depend on the person/company you’re working with. Some narrators upload files in batches so you can listen and give notes as they go, but others give you the whole book at once. Either way, remember that you are the client and you have the right to request any needed changes from places where a line doesn’t match the book to accents/pronunciation, to the speed of the read or swallowing or breathing noises. It’s important that you are happy with the final product.

Distribution and payment
When you chose your distribution/recording parameters (upfront/royalty share), the company (or narrator) should have explained the payment process. It should also have explained how long the contract is for, and how much to buy the work when any royalty share ends.

After payment is confirmed by both parties, companies perform one final quality check and then handle distribution. In October, ACX had a wait of 40-60 days due to the pandemic. Normally it takes about a week for the quality check and another few days for the books to appear on Audible and Amazon. iTunes usually takes significantly longer. Findaway also has a quality check, and it is usually complete in a few days.

Both companies pay you based on sales on a regular schedule.

Passive income
It may take time to earn back the money you spent, but audio book growth and revenue show little sign of slowing down. And the good news is they sit next to your print and ebooks on Amazon (and other retailers if you use Findaway) and you can promote those as well. Remember Chirp and it is also worth noting that Netgalley now offers audio as an option. For a while I made more money on my audio books than I did on print and ebooks combined. I hope you find much success and find that audio is a worthwhile investment for you.

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Nicole Evelina wishes to thank Derek Taylor Kent for his insight on Findaway Voices in this article. 

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Nink ~ World Building for the 21st Century Reader: The death of lyrical prose?

This article by Joanne Grant is from the December 2020 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

As an acquiring editor, I’ll be honest and say nothing would have me skim-reading over a submission quicker than lengthy descriptions of setting – especially in the very first paragraph of novel. However, passages of lyrical scene-setting prose were once the stalwart of classic novels which are still revered and taught in schools and universities today. So, what has changed, and is it really a complete no-no to include lyrical passages of setting at any point in your novel?

Creating a world in which your reader feels they can step into can make the difference from an okay read to a fantastic read—whereas not enough setting can disorientate the reader and leave them frustrated. It’s a hard balance to make but an important one!

In this article, I will discuss ways to identify how to handle world-building in your novel in a way that will appeal to your reader, as well tips to execute this well.

The 21st Century reader

Recent studies have shown that in the last 20 years, attention spans have dropped significantly. This is in direct correlation to the amount of information that is readily available and always vying for our attention (whether we want it or not!), through our smart phones, for example. It is perhaps of no surprise that this would have an impact on reading habits, trends, and in the way stories are told.

But does this mean readers no longer have the patience for description and world-building in novels? Not entirely, as it all depends on who your target reader is and what reading experience they are looking for – how do they want to feel? Being mindful of who your reader is when crafting your story can help you to world-build in a way they will enjoy. But how can you do this when you are second-guessing the whims of individuals?

Establish the role of setting in your genre

When looking to target your reader, first hone in on the type of book you are writing. There is so much variety in storytelling that thankfully, books are curated for us. Genres, sub-genres, and even broader categories are broken down into themes, tone, etc., all with the view to help readers navigate the bookshelves to select a story and reading experience they are in the mood for.

Read voraciously in the genre you are writing and pay specific attention to the conventions of that genre when it comes to world-building. The way world-building is handled in a category romance will differ from a post-apocalyptic sci-fi or from that in a literary family saga, for example, so notice the style, length and word choice when it comes to creating setting. Also notice:

  • Is it mainly told through narrative description or through character point of view?
  • Is the convention to use backdrop setting (more common in charcter-driven stories) or integral settings?
  • How do the descriptions of setting effect pace?
  • Pay particular attention to how setting is handled in the opening chapter – this is where you will win or lose your reader!

Trends change, so it is important to research current examples of the genre you are writing in – not just the authors who are considered masters in the genre, even if they are still publishing today. Why? Because they are likely selling books based on their unique storytelling style and have a loyal fanbase; they have earned the right to flaunt conventions! Instead, turn your attention to the new and rising stars coming through in your genre of choice.

Now that you have established the current convention and readers’ expectations of how setting is executed in your genre, how do you successfully execute your setting?

Using your setting with purpose

Everything you write (or at least what makes it into your final draft!) must have purpose: by serving the characters, conflicts, plot, and by revealing something new, interesting, and integral to the story. To avoid slipping into descriptive passages your reader skims over, consider the purpose of setting at that point in your novel. Here are some examples where setting can be used to serve a specific purpose beyond simple scene-setting:

  • Giving context and boundaries for your characters and their actions
  • Creating atmosphere and mood, which in turn can influence or reflect character mood
  • Providing foreshadowing of events
  • Creating a theme through symbolism

Whatever the conventions of your genre, it is unlikely that your setting will be “told” entirely through passages of narrative prose which means – yes, you guessed it – the way to execute this in an engaging way is to “show” setting through character action, dialogue and interaction!

As an editor – do I think the art of lyrical prose has gone completely out of fashion? No, not at all. I have read some fantastically engaging books published in recent years that used world-building in a poetic way to amplify or contrast with the themes of the story, or to slow the pace, or to make a wider point on a theme.

But why was I more forgiving of these stories as reader compared to my impatient skim-reading as an acquiring editor? It all comes down to reader expectations. I had the specific conventions of the genre I was acquiring for front of mind, and I knew that lengthy setting descriptions were not what the reader would be looking for.

So, if you find yourself writing a beautiful passage of evocative mood-setting, heavy with symbolism, ask yourself: based on your research is this what your reader wants…or is it exactly what turns them off? And this will help world-build successfully for the 21st Century reader.

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Joanne Grant is an Editorial Coach with over 16 years of editorial expertise working for the global bestselling publisher Harlequin. Joanne has edited hundreds of romance novels over the years and understands how to coach authors of all genres to deliver their best work. If you’re interested in finding out how she can help you achieve your writing goals, get in touch – Joanne loves to chat! For inspiration, tips and offers why not sign up to her newsletter, join her Facebook group Motivation for Writers! or connect on Twitter @JoanneMGrant.

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Nink: You’re Not Broken ~ Be Your Own Writing Champion

This article, written by Denise Agnew is from the November 2020 edition of Nink, the monthly newsletter of Novelists, Inc.  (NINC). Nink, which is packed each month with informative articles for career novelists, is a benefit of NINC membership. 

Writing challenges can convince you that you’re broken. The excitement you once enjoyed creating stories feels as if it has vanished. Since Covid-19 arrived at our doors, many authors have been looking for ways to cope.

If your creativity has diminished or completely disappeared, you may think it will never come back. Take heart. Writer challenges are rarely permanent if an author explores what is happening with their particular situation.

It is easy, when you’re not feeling well and negative thoughts are threatening to keep you down in the dumps and uncreative, to throw your hands up and surrender. It is tempting to wallow and decide it’s just the way it is. Most of us have done this at one time or another, and we don’t always realize that the messages we tell ourselves are half the problem.

My challenge for you is to dig deep and to not buckle under to despair.

Discover what’s really going on

Writing challenges are different for everyone, but there are things you can consider and questions you can ask to discover the origins behind your particular situation.

Overcommitment/setting boundaries

  • Make a list of commitments you have in your life and see if you are shoving aside your writing in favor of doing everything else first. If you discover you’re overloading your plate, make a list of what you might trim or eliminate in order to make more time for creativity. Your sanity is worth it.
  • Are you volunteering in organizations you no longer enjoy? This is a tough one. Often people feel that if they’ve committed to volunteer in an organization, that they have to stick with it no matter what. I have personal experience with joining an organization and sticking with it way after the luster and enjoyment was no longer there. In 2019, I significantly scaled back my commitment when I realized I no longer enjoyed the group the way I had for the last 10 years. It freed a lot of time.
  • Do you feel guilty carving out writing time? Many people are family first, everything else comes second. While this can seem virtuous, there are pitfalls. You’ve heard the old saying that says if momma isn’t happy, no one is. I guarantee if you are dying to write, but have abandoned it because other people are demanding every second of your time, any subsequent dissatisfaction and depression will manifest itself in negative ways. You may give up on your writing dreams. Ask yourself if you are training other people to expect certain things of you. If you don’t carve out writing time, no one else is going to give it to you. Boundaries are important. Are your children remote schooling at home and your spouse also working at home? Are you working another full-time job at home and also trying to shoehorn in writing? If any or all of those things are in force for you right now, you may need to set new boundaries with those around you. If others don’t know that writing is still important to you, they may either encroach on your writing time either by accident or design. Decide now that your writing is important and put it on your schedule. Even if you don’t have as much room to write as you did before, dedicated space on your schedule can keep creativity alive.

Lean out of your comfort zone

  • Are you afraid to create in a different genre or approach your genre at a “riskier” angle? Have you told yourself it might reveal something about you that feels shameful or that other people won’t like? What are you not saying in your writing that you want to say?
  • Own your writing. Writers want to please the reader. Sometimes, though, writers forget that in order to be happy as writers, we have to enjoy what we do the majority of the time. If others disapprove, we have to find it within ourselves not to give their approval weight. Many writers have externalized their writing so much that everything on the outside dictates whether they are creative or not. Eventually this will backfire and the creativity dries up. Be your own champion. That means please yourself first when you write and everyone else second.

Carve out some peace

  • Are you worried about the state of the world? There is no doubt there are worldwide concerns overtaking space in most of our heads. Now is the time to realize that you can’t spend 100 percent of your day allowing those subjects to overwhelm, depress, and deprive you of your creativity. Feeling guilty if you aren’t thinking about writing 100 percent of the day doesn’t serve your creativity or your mental health. Find some time to switch off that outside world and refresh your body and mind creating.

Stay open to new perspectives

  • Our egos can get in the way. We become jaded and even sometimes proud of our cynicism. What this can do, though, is lead us to see our world in narrow parameters. We think we’ve seen it all and therefore we can’t learn anything new. Unwillingness to stretch our minds into new genres, or new ways to refresh our current genre can lead to creativity disappearing.
  • Be willing to listen to new craft techniques and ideas if your creativity is waning or drying up. Consider if a technique might work, and try it. If it doesn’t work for you, all is not lost. Chuck it and move on to the next.
  • On the opposite side, avoid using craft classes as an excuse to never write anything. There are many writers who have spent years taking craft courses and never finished a single manuscript. Recognize when it is time to put those courses to the test by writing and finishing something.
  • Write what you don’t know. One way to branch out in creativity is to decide it is okay to write what you don’t know and research it. If you’ve always wanted to write about a subject or situation you haven’t experienced, go for it. There’s nothing stopping you but the willingness to stay open. Being curious and researching can energize your creativity and excitement for a project.

Recognize your own power

  • You’ve got great ideas. Somewhere along the way, though, you may have convinced yourself you don’t. For some people, this stems from long-held self-esteem issues. If you think self-esteem issues are getting in the way of your creativity, it might be time to discuss them with a mental health professional who can help you navigate those waters.
  • You’re not alone. Too often writers believe that everyone is creating like gangbusters but they aren’t. Take heart. Most writers who’ve been in this business a long time have encountered bumps along the way. Recognize that writer’s block doesn’t form because you’re a bad writer. Many famous authors have complained about writing difficulties over the course of their careers. You’re in great company.

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Denise A. Agnew is the award-winning author and screenwriter of over 69 novels and several optioned screenplays and television series. She’s written in a variety of genres including horror, romance and historical. Over the years she’s also enjoyed participating in archaeology and archery. Reading is a huge love! She was fortunate enough to live in England and Hawaii and travel throughout the UK and Ireland. Denise is also a producer, paranormal investigator, Certified Creativity Coach, Reiki Master, and evidential medium. She lives in Arizona with her husband and a mini schnauzer. You can find her at www.deniseagnew.com and www.agnewcreativemedium.com.

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