Writing Archives

February 19, 2021 by Laura Resnick

Nink: Writing Flashbacks

This article by Joanne Grant is from the February 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.

One of the many magical qualities about fiction is the ability to step back and show the reader an exact moment that had a great significance to characters, or the plot, in the present. It’s the literary equivalent of a time machine! However, there is some debate about the use of flashbacks. Some feel it is a clumsy way of telling backstory, when this could be shown in the present, while others feel a well-placed flashback can provide much needed context for where the characters are in their current lives as to their conflicts and motivation

As with so much about writing, I would argue that flashbacks are all in the execution. A badly placed or obsolete flashback can frustrate the reader – which is a crime indeed – whereas an effective flashback can enrich the front story, create tension, and compel the reader forward.

Here are some practical tips to avoid being found guilty of some of the most common of flashback crimes.

Crime #1: Flashbacks kill the pace!

If you are going to interrupt the forward momentum of the story by including a flashback—it better be for a good reason. Otherwise you are essentially killing that all-important pace. Here are some practical points to consider when it comes to pacing.

When to include them?
Ideally, do not include a flashback until you have established a brisk pace, ensuring your reader has had time become invested in your story and characters before they are transported back in time. Insert a flashback too soon and you may stop that pace before it’s really gotten going.

How long should they be?
The length of a flashback will affect pace—too long and the reader may become impatient, flicking forward to get back to the main story, or too short and they may question whether it was even needed. To keep it just right, ask yourself, is it advancing the plot? Is this necessary to be revealed here? Question whether there is a way to share the same information with the same impact in the front story—if there is, you probably shouldn’t be adding it into a flashback. And is it actually engaging to read? You may be using a flashback to convey information but you still need to keep you reader entertained!

How to transition in/out of them?
To keep the pace flowing and smooth, how you transition in and then out of your flashbacks is important—nothings disrupts pace like a clumsy transition between scenes! It is convention to use italics for flashbacks, but this alone is not enough to orientate your reader so ease into scenes as you usually would for scene transitions. You could explicitly spell out how far back the flashback is with time markers such as “six years earlier,” or orientate the reader in a specific period in time such as “it was the Summer of ’95.”

Also, think about what your trigger is that logically leads back in time, and similarly the trigger to return back to the present day. If your flashback is directly from a character’s point of view, you may want to use a “Proustian moment”—where a physical sensation such as taste or smell triggers a memory—which makes sense of why the character is having this flashback. You can use a similar technique to move the character out of their reminiscence and back to the present.

How many?
Flashbacks can be a great literary device but be mindful about chopping and changing between past and present too frequently, unless this is the convention of your chosen genre. This could cause a start/start feel to your pace. While there is no fixed rule as to how many, what is the purpose of each flashback?

Crime #2: Flashbacks are boring!

Your reader runs the risk of being bored by your flashback if you get the timing, length and frequency wrong, but what about content? The main accusation thrown at flashbacks is that they do nothing more than tell backstory which isn’t interesting to read, especially when it can be shown in the front story in a more engaging way.

So how can you avoid this? First of all, recognize that your flashback scene has to be as engaging as your front story, but it must also serve a specific purpose, one that cannot be achieved any other way. Here are some of the key purposes of flashbacks which are by no means boring!

Character motivation and empathy
A scene that shows character motivation adds a deeper understanding to why characters are behaving how they are in the front story. By showing it in real time, the flashback can also help to create reader empathy towards a character that may not have otherwise been felt. This can be especially impactful if the character has been significantly changed by a past event. It allows the reader the rare insight into who the characters were before their life took them on a different track. Learning this information can be enjoyable as well as illuminating to the reader.

Create tension and foreshadowing
Secrets and foreshadowing in flashbacks create tension that, as a result, can spur the reader forward. There can be delicious tension added to the front story by revealing something significant from the past. For example, providing information to the reader that isn’t yet known to a key character or other characters puts the reader in-the-know and compels them eagerly forward to the point of reveal in the front story. Everything you write should propel the reader forward—even if you are going back in time!

Crime #3: Flashbacks don’t add anything!

Like everything in your story, flashbacks must add something. If the information conveyed can be included in the front story without disrupting the linear narrative, then why would you add a flashback?

It’s all about the emotional core!
There is certainly room for added drama, tension and character development, as already highlighted, but for me, flashbacks pack the biggest punch when they tap into emotion. A well-executed flashback will speak to the emotional core of the story and will link into the character’s internal and external conflicts. Flashbacks also can provide an immediacy of emotion that isn’t possible any other way.

Ironically, one of the accusations against flashbacks is that they lack immediacy because by definition, the events have happened in the past. However, when done well, you can overcome this. For example, a character can explain how they felt when something happened to them, but show the scene from the past in real-time and the reader then can witness the characters experiencing it first-hand.

This can have true power and impact, especially when what happens is an event that is a key turning point for the character. Seeing this scene can help a reader deepen their empathy and understanding of a motivation and therefore return the reader to the front story with a new and reinvigorated perspective on a character.

* * *

So, did you find yourself guilty or not guilty when it came to the flashback crimes? Hopefully you will have thought of new ways to address writing flashbacks, or maybe you are still very much firmly in the ‘say no to flashback’ camp. Either way, it is a good reminder that when you are utilizing any literary device, especially one with magical powers—approach it with respect, understand its purpose and wield its magic sparingly!

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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.

February 5, 2021 by Laura Resnick

Nink: What Reality TV Taught Me About Writing

This article by Nicole Evelina is from the February 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.

Reality TV has been in our lives since The Real World debuted on MTV in 1992, and the genre as we know it really took off in the early 2000s with the success of Survivor and American Idol.

Up until recently I wasn’t much of a reality TV fan. I watched the first season of The Bachelor (silly me, I thought it was real) and the first season of Rock of Love (I loves me some ‘80s hair bands). But recently I started watching more shows and it didn’t take long for me to realize I was learning a lot about writing by watching these “unscripted” shows. Here are several things I’ve learned about writing from watching reality TV.

The power of editing
In NINC, we are all experienced professional writers, so I don’t have to tell you about how editing can make or break a book. Reality TV is really the best way to see how editing can change a story. Depending on how a scene or episode is edited, an innocent conversation between two friends can be made to look like a cat fight. We need to remember this when we are attacking our own work or working with a professional editor. If an edit changes our original intention, is it worth fighting for your original text? In some cases, yes. In others, that same edit might open your eyes to a whole new possibility for your book you hadn’t considered. Also, think about perspective and the way it alters a story. Depending on whose eyes we’re seeing a scene through, it could be very different than through someone else’s.

Don’t rely too strongly on stock characters, but don’t forget them either
Raise your hand: who has rooted for “the bitch” or “jerk” character on a reality show? I know I have. If you leave out these fan faves (see also the “good girl,” the “BFF,” the “anti-hero,” etc.) your audience could be disappointed, because they love them. However, if you have too many stock characters and don’t give them memorable characteristics, or a definitive voice and/or a reason for the reader to cheer or jeer, you’re going to have a cast of cardboard characters that readers will reject. (See Million Dollar Listing: Hamptons for a reality TV example.) The reason we love the bitch and the jerk are that they inspire powerful emotions in us, usually loathing. But the BFF can do that too, especially if they make us want to have them as our BFF. When you have beta readers read your book or get ARC reviews back, look at how people are reacting to your characters. If that strong emotional tie is there, you’ve likely transcended stock status.

The power of branding
Seasons two and three of Selling Sunset started to introduce branded elements into the show. The cast began carrying around coffee mugs with the real estate firm’s logo. When they did a photo shoot (because everyone does those in real life, right?), they dressed in carefully chosen brand colors—those sitting on the couch were flanked by pillows bearing the company name and logo. But the one that really got me was when they started having Oppenheim Group branded wine at their broker’s open houses. Um, who doesn’t want their own branded wine? Consider where you can put your logo besides your website, Instagram, etc. If you want fun ideas for swag that sells, check out the September 2020 issue of Nink where Linda Gilman leads us through some unique ideas.

Cliffhangers
Reality TV loves nothing more than to hook you and keep you binge-watching. Big Brother does this in each episode when the narrator says, “Who will win the power of veto?” or “Who will win Head of Household?” Big Brother has such a fan following people sign up to watch “After Dark” so they can get the spoilers before the episodes air. As you plot out the ending to each book in your series, consider if a cliffhanger would work.

Plot twist!
In order to keep viewers interested, every so often reality TV throws a curve ball the contestants (and often the audience) didn’t see coming. This one’s pretty self-explanatory, but it’s Big Brother’s double eviction and The Amazing Race’s Phil Keoghan telling the last team it’s a non-eviction round. The key is to surprise your readers, but in such a way that they can look back and see the clues you’ve been leaving them all along.

We all crave fantasy
Have you ever noticed that reality TV always takes place in glamorous locations like Los Angeles, New York or London, or that the shows jet their contestants/characters off to exotic locales? No one wants to watch actual reality. Selling Sunset ups the glam not only by taking place in LA, but by featuring a realty brokerage that only caters to elite clientele. Everyone dresses to the nines, attends really cool parties and tours huge houses. Viewers drool over how the other half lives. No matter where or when your story takes place, what fantasy can your book fulfill for your readers? Romance clearly plays to the human fantasy of falling in love with our ideal mate. Historical fiction takes us back in time and into the minds and hearts of people we’ve studied in school. Sci-fi allows us to dream of a better/different future. Even horror and domestic suspense tap into the dark fantasies we may not wish to admit to.

The ensemble matters
For reality shows to spin off, characters must connect with the readers. Randy Fenoli doesn’t even work at Kleinfeld’s any longer but Say Yes to the Dress can’t exist without him (or Monty in Say Yes to the Dress, Atlanta). However, some spinoffs can have too much of the same thing (example: any Real Housewives or Vanderpump Rules). When a character is popular it is because of a characteristic that makes them stand out from the ensemble; however, what most people fail to realize is the ensemble must avoid being “too much.” On Selling Sunset, over-the-top Christine threw a “Botox and Burgers” buyers open house, and she threw herself a lavish engagement party complete with a live zebra. But without those who temper her, she would be too obnoxious on her own. The same holds for series/books we may write based on secondary characters introduced elsewhere. Make sure you ask yourself how you can provide a foil for that character that will temper them like the original cast did. What will you do to keep their outstanding traits from becoming overkill once they are on their own?

Innovative and controversial = press and popularity
Look no further than Indian Matchmaking to try to understand why anyone in the 21st century would still agree to an arranged marriage. On the surface, this seemed innocent enough, but the show also revealed prejudices that run deep in Indian culture, such as a desire for a bride who is not only tall, light-skinned, and thin, but not too outspoken, career-driven or independent. This, naturally, ignited discussion online and resulted in press coverage, which sent even more people to Netflix to see what the big deal was about. Same for why viewers tune in for Married at First Sight or My 600-lb Life. What these shows reveal is that if we embrace the unusual or controversial in our books, it could lead to viral word of mouth or even media interest, both of which sell books. But we have to be careful because it can also blow up in our faces (because unlike TV, which is designed to incite visually, our books do not have this optical aspect). The innovation has to make sense in the plot and should be treated in a way that doesn’t offend anyone.

Be careful of trying to ride others’ coattails
You know how when one book is a hit everyone tries to write the next one? Reality TV is the same way. After Selling Sunset, Netflix put out a show called Million Dollar Beach House. It may be the worst reality show I have ever seen. It was clearly trying to capitalize on Selling Sunset’s success, with characters who were similar, but not believable, totally forced drama, and arbitrary dips into the cast’s personal lives (that I totally didn’t care about). The only thing it had going for it was the beautiful Hamptons homes. This shows that just because you have the same formula that worked for another show/author, unless you have the passion for it and take the time to make the story work, it won’t necessarily be a hit.

In conclusion
While I still dread calling myself a reality TV fan (but let’s face it, I am), I’m glad my brain needed a break because I learned a lot about storytelling by paying attention to what works and what doesn’t for me. However, just like with books, what I like, you may hate, and vice versa. But next time you turn on the TV to tune in to your favorite “unscripted” show, take note of what works for you and what doesn’t and why. You just might be able to incorporate it into your next book.

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Nicole Evelina is taking a break between books. She just finished her first biography and will start a historical fiction book soon. But for now, you can find her watching The Home Edit (which she doesn’t really like but watches anyway) and not so patiently waiting for the fourth season of Selling Sunset.

January 20, 2021 by Laura Resnick

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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December 5, 2020 by Laura Resnick

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.

November 5, 2020 by Laura Resnick

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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