C h a z z W r i t e s . c o m

Write and publish with love and fury.

Writing Moonlighting Top 10: There’s going to be a pie fight!

There are many ways to write and no one can say any are “wrong”. Well, the kitten sacrifice was a little much. Here’s one way to go:

Anybody remember the TV show Moonlighting? It was a comedy that was on TV when Bruce Willis was adorable and Cybill Shepherd was Cybill Shepherd. During production, sometimes the planning seemed haphazard. The lowest guy on the totem pole in the writing room would run down a hall, stick his head in the door at the props department and scream, “There’s going to be a pie fight! Get 500 pies ready!”

 

That’s writing toward a scene.

They didn’t have everything else filled in yet, but they knew they wanted a big set piece and pie would fly.

From Google: 

set piece
noun
A thing that has been carefully or elaborately planned or composed, in particular.
A self-contained passage or section of a novel, play, film, or piece of music arranged in an elaborate or conventional pattern for maximum effect.

What’s this mean to you and your readers?

Deliver maximum effect.

You’re writing your book. Events happen. Complications ensue. Characters conflict. You know. Story stuff. A set piece is a story beat but not every beat is a set piece. This strategy reverse engineers your novel. You think about the big scenes you want to deliver and sketch those out so you can lay the groundwork and build the ladder or plant the garden. Pick your writing metaphor here. Without that context, it will feel stuck on so be careful to stitch tightly and weave over the seams.

The Big Scene: Put on the Helmet of Imagination!

The Last Evil Clown fights The One Good Mime atop Mt. Rushmore. Or the nuke detonates in Dubuque just as the hero teleports away to the bridge of an exploding starship. Whatever. You could write the context that gets your readers there and excited about it.

Set pieces are big stakes scenes so:

1. Add the ticking clock device. 
2. Kill a major character.
3. See it as the movie scene where the special effects department blows wads of cash.
4. Make it a major turning point.
5. Reveal something huge.
6. Deny the protagonist their easy victory.
7. Award the main character their vengeance.
8. Reward the villain with a huge comeuppance.
9. Pay off the reader with a spectacle, or at least something spectacular.
10. Books are long. Don’t have just one set piece.
Robert Chazz Chute This Plague of Days: Season 3~ In This Plague of Days, Season 3, the big battles constitute set pieces. Not every set piece has to be a violent cataclysm though. When the big secret is revealed in the library in Season 3, that’s a set piece, too. You’ll know when you get there because you’ll suspect I wrote it high on acid. If you don’t know what I’m talking about, I have something for your TBR pile. 

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How to write more, faster, now

After I publish a book, I tend to fall into a mild bout of postpartum depression. To head that off, I’m writing a new crime novel as I prepare to launch the finale to This Plague of Days. This new one has a very fast pace and I’m also writing it fast. This isn’t going to fall into a plotting versus pantsing discussion because, Thor knows, we’ve all hit that gong plenty hard already. Today, let’s talk about how to discover your story.

Here’s four writers to pay attention to, in case you don’t care what I think:

1. Anthony Burgess had a cool trick I’ve used. Pick three words at random. Those words will appear in your next chapter.

Go! You’ll find gooey, fudge brownie richness with that one tool alone.

2. E.L. Doctorow said writing a book is, “like driving a car at night. You never see further than your headlights, but you can make the whole trip that way.”

When I wrote my first crime novel, Bigger Than Jesus, I knew the last line of the book, but I had no idea from one night to the next what tomorrow’s chapter might bring. It worked out in a really peachy way.

3. Stephen King talks about excavating the story, discovering and unearthing dinosaur bones.

Some people start with character. I often find my brush and trowel to dig the dirt away is conflict. Everybody wants something. It’s more interesting if everyone’s competing for the same thing but use different methods to get what they want. (Game of Thrones, anyone?) Through conflict, character and snappy dialogue often emerge. Direction and velocity will reveal themselves as you discover how the story evolves. It may divert from your outline. That’s okay. Follow the drama. It might lead you off the map to a beautiful place.

4. Chuck Palahniuk suggests writing each chapter as a short story.

As each story connects to the next until the end, this process cuts down on a lot of intimidation. It also lessens the danger of a saggy middle because you’re demanding more of each story element instead of relying on the reader’s patience. Each chapter is a pillar. Don’t build a weak one and depend on it to hold up the structure.

I’m going to suggest the writing process as an exercise in free association.

Free association emerged as a counselling approach in Freudian analysis. The core of the therapy was to let the mind wander and for the patient to tell his or her own story rather than take on the worldview of the therapist. This was resolution by exploration.

The key is to let ideas bubble up and connect unhampered by the choke valve of self-criticism. Criticism is for later. In the creative process, let it go and flow. You’ll go faster and arrive in places that aren’t mundane and expected. Using these methods, you’re going to cut down on procrastination, too. You’ll write more because you’re having more fun. Stop agonizing. This is entertaining fiction you’re writing, not a eulogy.

In This Plague of Days, the autistic hero of my zompoc epic (Season 3 coming June 15!) is Jaimie Spencer. He’s obsessed with the dictionary. That’s me. I collect odd factoids. I let one Wikipedia entry lead me to another and to another until I free associate my way to new plot developments. The world is made of details and small components build bigger things. That’s also true if your world is fictional. The dictionary and Wikipedia are full of the atoms of your next story.

For instance, take a swig of Doctorow.

In my current WIP, I know the destination and I have a hastily drawn outline of how to get there. It’s not deep in details. I came up with most of it while watching my son’s soccer game. The first atom was a small conceit. The idea exploded when I had my hook. More on this later this summer.

Enjoy a tall, cold glass of Burgess.

Take a random fact from Wikipedia and see where that leads you. Your foundation is already getting poured.

In the crime story I’m working on, I needed to show the love interest’s character. She’s an underdog determined to win. That led me to a story from Wikipedia she could identify with. By showing the tragic, yet heroic story that guided her life, we understand her better and we like her immediately. (Me? I’m big on pathology. Give a character a medical problem and I can use that, for them and against them. Desmoid tumors saved the life of one character in This Plague of Days, for instance. Read the books. You’ll get that reference.)

Free association comes faster from good questions.

Quick! What are the hits playing on the radio in 1974? Which manager was first to get kicked out of a baseball game twice in the same day? What was happening to your protagonist that day in 1974 when he was thinking about baseball and listening to the radio? What song titles spoke to his state of mind? These are the connections I made to write a chapter (a pillar, if you will) that could stand on its own as a short story. Hello, Mr. Palahniuk!

As the factoids build and scenes connect into a river of stories that collect and flow into one ocean of words, new connections are made. New developments float to the surface. You’ll discover new intersections in the network of your story you didn’t suspect were there when you began to write.

That’s Stephen King’s story archeology.

Good stories aren’t written. They are discovered. It is the nuance we find in the depths of free association that contribute to verisimilitude and character interplay. It’s nuance that builds, not just a book, but a believable world.

Those details you’ll use through free association? It’s not the only key to Creativity’s lock, but it’s a good one. Try it.

~ I wrote Crack the Indie Author Code and Write Your Book, Aspire to inspire. Check out AllThatChazz.com for affiliate links to all my fiction. That would be double plus cool. Thanks.

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#NaNoWriMo: Story stuck and stalled? Try this.

You’ll probably get stuck from time to time. Most everyone does, so don’t panic.

If you get stuck often, outline more to save writing time and stay on track. Keep in mind that outlines are merely guidelines. You’re just dating your outline casually. It’s not serious and you don’t have to marry it. With the shadow of commitment gone, you still have your free and fun, bright and shiny creative mojo working for you.

I’m a pantser, but I do have an idea where my stories are headed. We may take a winding trip to get to our destination, but we will get there, hoping we won’t get stuck and be forced to back up thirty pages or so before we can move forward again. I’ve had to do that. It sucks, sucks away forward momentum and saps confidence. So let’s crash through that mental block and get unstuck.

Solutions to get out of the ditch

Season One of This Plague of Days is the siege. Sutr-X was the pandemic. Sutr-Z's next and it's coming for you and the Queen's corgis, among others.

Season One of This Plague of Days is the siege. Sutr-X was the pandemic. Sutr-Z’s next and it’s coming for you and the Queen’s corgis, among others.

A random, alluring word, place, fact or event can give spinning wheels traction. For instance, the word “chiroptera” gave me a new direction when I wrote Season 2 of This Plague of Days. Sometimes I choose words, events or facts at random and noodle with them to see how they might fit into the narrative. Or I’ll draw from mythology, philosophy, politics or religion to discover new dimensions in the narrative.

Here’s the surprise: I always find a way to make those intriguing things fit naturally into my story.

I bet you can, too. Don’t load up on $10 words when a nickel word will do, of course…or at least don’t do it for its own sake or to show off. However, if something seemingly random can serve your story, use it (or dump it if it fails.) Readers like learning things as much as you do. They like characters with depth and to discover hidden significance behind meaning.

Get random

Autism, Latin, the Existential Abyss and references to Superman. That's pretty random, but it all fits.

Autism, Latin, the Existential Abyss and references to Superman. That’s pretty random, but it all fits.

This exercise in the writing process is about bouncing new electrical flashes through the writer’s brain, making new connections and getting synapses firing to see nonlinear possibilities. Frequently, you can find something new that influences the story simply by opening a dictionary and pointing. An atlas and a Wikipedia search might give you a random fact that sparks something. I found Gas City, for instance. The name alone captured my imagination and got me thinking about a new track to follow in Season 2. New characters and furious battles evolved from the way that slapped my brain.

If you’ve got an area of interest (baseball, plumbing, woodwork, salmon fishing, animal husbandry, whatever) work it in to give your characters depth. I’ve got a sensitive soldier with expertise in military history who shows up in the zombie apocalypse. I’ve also got an Irish cop from a tiny Irish resort. The place informs the character. These are the sort of factors that make the people on the page real. Jack (Jacqueline) Spencer majored in Elizabethan poetry. That makes her feel pretty useless when society collapses, but her development now has an arc. Up from zero, she gains experience on the road east to a hoped for haven from the apocalypse.

For me? It’s pathology that fascinates.

I studied anatomy first and was awed by our biological complexity. Then I studied Merck’s Manual and I’ve been a hypochondriac ever since. It’s startling how fragile we are, so pathology often finds its way into my books, one way or another. I know a lot about how the body breaks, so I’m sure you can guess how that might play into a crime novel.

I know a lot about migraines (and the many variations of headaches.) His inability to act shows up in one of my WIPs and becomes crucial to the protagonist’s predicament when the cops come calling, asking for an alibi. My protagonist in This Plague of Days is autistic which, naturally, gives him a unique point of view on the end of the world. Another character has Desmoid tumours. This is a rare condition, but it turns out to be very relevant to the story. Her disease saves her from a worse fate than Desmoid tumours (in a way I can’t divulge yet, of course. That’s Season 3 stuff.)

Take a fragment and build your next chapter around it. Make the fragment an element.

These general suggestions are random sparks. If an atlas or a dictionary or a quick Google search can make your story catch fire, and if you can make these new variables seamless, you’ll find their inclusion can get you unstuck.

Therefore:

a summer camp in Columbus, Ohio with too many mosquitoes

the ruins of a castle hidden under heavy snow

a rusted can opener, forgotten in the kitchen’s junk drawer

a tippy chair with one short leg

angina

Captain Cooke’s death

her mother’s wedding ring inscription

Try one of some of those for a start. How might they fit in your narrative? Keep going and don’t worry if you get stuck. The next step will come to you and, if not, go find that next step. Finish your story.

Tips and inspiration for the writer's journey to publication.

Tips and inspiration for the writer’s journey to publication.

~ Hi. I’m Robert Chazz Chute. I wrote a couple of books full of inspiration to get writers to get their books done. I also write about a kid on the autistic spectrum facing the end of the world, zombies who aren’t really zombies and vampires who aren’t really vampires. There are also jokes and Latin proverbs. It’s…oddly engaging and does not suck. See all the books here.

I also host the All That Chazz podcast and the Cool People Podcast. To learn more about This Plague of Days, go to ThisPlagueOfDays.com.

Filed under: NanNoWriMo, Writers, Writing exercise, writing tips, , , , , , , , , , , , , , , , , , , , , , ,

Truman Syndrome & the writerly mindset

While sipping the best coffee ever at Coffee Culture, I saw a handsome, young black man standing across the street. Beside him sat an elderly white woman in a wheelchair.

I swear this is true: I watched him light a very fat joint, take a hit and pass it to the old woman. Without looking at him, she took a hit and passed it back. This wasn’t merely unexpected. It was surreal. As he rolled her out of sight I thought there was a story there but I wasn’t sure yet what it would be.

As I headed home, I had a Truman Syndrome moment. Everything looked slightly fake, like I was on a movie set made just for me. An old man with a nose like The Penguin’s beak and horrible posture scrabbled across the sidewalk as if pulled along by his cartoonish nose. At the same time, a woman ran the other way in a gait that looked…contrived. She wore a pastel green blouse that matched her socks and she ran like she was holding back a terrible case of diarrhea and trying to hop in time to an urgent nursery rhyme.

If I were to see each person individually, it would just seem odd. However, the juxtaposition of all of them made them not real people, but characters. As I scanned the sidewalk, everyone looked like an extra in an early 90s low-budget movie. I could picture the AD whispering instructions to concealed earpieces for each passerby. “Keep moving! Don’t look at the camera. Don’t look at the actor! Don’t look at Chazz! He still has no idea!”

The sense that everything is slightly off, somewhat “presented”, and utterly skewed? That feeling hasn’t left me all day.

I’m either in a writerly mood or this is a narcissistic psychosis.

Not that those conditions are mutually exclusive.

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Writers: Balance out the sedentary life

You have to take care of yourself. I certainly haven’t been for the last week. It’s been a monster week for writing since that’s pretty much all I’ve been doing. Late last year I was writing in such a frenzy (to the exclusion of all else) that I actually hurt my shoulder and back and it was painful for weeks. As I move to writing full-time, I’ve realized that I have to get the cardio and strength training to balance out sitting and sitting and sitting. Hemingway boxed and hunted and fished. The least I can do is get my ass off the chair.

Filed under: publishing, What about Chazz?, Writers, Writing exercise, writing tips, , , , , ,

TOP 10: Get your writing motivation back & finish your book

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Sometimes you lose the thread. You burn through the first 40 or 50 pages and then…now what?  Augusten Burroughs doesn’t believe in writer’s block. He says that if you think you have writer’s block, write about the block and you’ll find your way out. Frankly, that hasn’t worked for me. This is what I do to churn the letter butter and make it thick:

1. Reread the last ten pages before you got stuck. There’s probably something there to riff from.

2. Reread the first ten pages and get back to where you were headed to begin with so you can find the trail you lost.

3. If you’ve got an outline, go write an easy scene. If the book is a ball small enough that you can hold it in one hand–and you make it small by using an outline–you can skip forward to a scene you are sure of.

4. When you’re stuck, go back to the characters. What’s the special need and want of the character (often not the same thing in a layered, complex text)? Find the truth of that character. What does the character do next?

5. Search for the emotional truth between and among your characters. Write that.

6. Search the conflict between and among your characters. Maybe you’re stuck because your characters are too agreeable.

7. Change the setting. Too many characters stand around in living rooms talking at each other instead of engaging the world. It’s not a stage play. A novel has as large a canvas as you can imagine. Get your characters up and out in the world where things happen.

8. Think visually. What would the movie of your book look like? What are people doing? Do they have special skills? Draw on your own experience or do a little research to get you through a scene. (Do as little research as possible on the front end, though. I wrote a story in which a character got pulled into a saw at a lumber mill. First I wrote the scene. Then I consulted an expert who said it shouldn’t be a saw but a machine called an edger.)

9. Still stuck? My trick is to get out a book (usually a dictionary) and choose three words at random. Work those words into your next chapter. (Clicking random in Wikipedia works great for this strategy, too.) This will take you places you wouldn’t have found otherwise.

10. Take a break. Change your setting. Trying to tough it out so you produce typing but no worthwhile writing is not working smart. Do something totally different. Go get chased by a bear, move, run, go watch people, have an espresso or nap. Refresh your writing mind by demanding nothing of it. The world will have to wait until you’re back where you need to be.

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Writers: Get your book done! Hack your life and crush your enemies.

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Zip over here as quick as you can to check your keyboarding velocity.

You can write.

Are you also a fast typist?

Next question:

Does it matter?

I’m currently sucking down a great book: Timothy Ferriss‘s 4-Hour Body.* In it, he mentions how short-term goals, tiny achievable targets, can help you get huge projects done. Don’t have time to write a weighty tome? That’s okay. How about committing to a page a day? Half a page? A few sentences?

4_Hour_BodyIf you can do that much, you can get your book written this year. You know why?

Because most days you won’t just write a few sentences. Once you’re over that intimidating hump of “WRITING A WHOLE BOOK” (DUH-duh-DUUUUH!) you’ll sit down. You type a few sentences. Then you’ll already be over the worst of the procrastination speed bump. Chances are, you’ll get to writing much more most of the time.

And you’ll be on your way.

How fast you type won’t matter all that much really.

What matters is that you consistently write.

Consistency is what crushes. 

 4-Hour_Work_Week

*Once you have your body in shape with Timothy Ferriss’s health hacks, read The 4-Hour Work Week. It is doubly awesome in giving you strategies to make your work life rule (without ruling you.) Read 4-Hour Body and you’ll live longer. Do 4-Hour Work Week and you’ll live so much better.

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Filed under: book reviews, Books, getting it done, publishing, Writers, Writing exercise, writing tips, , , , , , , , ,

Lynda Barry tells What It Is

This is a book about writing like you’ve never seen:

What_It_Is

If you know Lynda Barry‘s work, you  know hers is an inimitable style. But I grok her. I had some reservations as I plucked the book from the shelf, but when somebody bares their soul in their art, you either look away embarrassed and confused or you look deeper, identify and get swallowed up, too.

Her ideas on writing prompts could get you going. Letting go to get going appeals to me. Most of all? I understand what she means by escaping into writing and getting “that floaty feeling.” If you write, you know what she means, too. If you don’t, buy What It Is, do the exercises and find your way into The Float. 

The immediate rewards of writing (slipping through “the escape hatch” as Stephen King puts it) are right now. Even as I write this, I feel a tickle in my brain. Some happy dopamine is spreading somewhere through my skull as I type this. I’m a junkie.

You may or not get published, but there’s more to it than that, isn’t there?

Some people don’t get that, so I ask them this: “Did you ever play tennis or run or swim? Did you keep doing it even though you knew you weren’t going to end up at Wimbledon, the Boston Marathon or the Olympics?”

Filed under: authors, book reviews, Books, publishing, Writers, Writing exercise, writing tips, , , , , ,

NaNoWriMo Prep: Brainstorming Your Way to Surprising Stories

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One of the dangers in writing a novel is that halfway through, you run out of steam. It happens a lot. Everybody is eager and can’t type fast enough as they begin their story. As the pages pile up, it’s easy to lose the plot’s thread. Enthusiasm wanes. We wonder, What did I think was so great about this idea? I can’t remember. You might not necessarily get writer’s block, though running out of ideas in the middle is common, especially if you’re discovery writer (meaning you find out what the story is going to be as you write it instead of outlining.)

If your middle is a muddle, there are a few common tricks. Knowing the final scene is helpful. Outlining helps. Writing out the major plot points. (And if you haven’t read No Plot? No Problem! yet, you should grab a copy before you begin your National Novel Writing Month adventure.)

I propose a fun exercise to get your mind going, and do this before you start outlining (or before you sketch out the major scenes and beats.) An outline is a map that will carry you through to the end, but I’m going to suggest an innovative strategy I use to open my mind up to possibilities I would not have ordinarily discovered. Try this:

1. Get out a legal pad.

2. Write the numbers 1 – 40.*

3. Get out a dictionary, hit random on Wikipedia, drag out your Goth Bible and any books on myths and legends. Use what resources you have. (I have The Book of Tells. That may prove very useful for the story I have in mind. I want the villains to be formidable, so they’ll be sensitive to body language that gives the hero away.) Atlases, trivia or histories can give you some clues, too.

4. On each of the lines, 1 – 40, write three words from your resources in #3. (Choose words with which you are unfamiliar. Don’t slow down to do research. That’s for later. Now is for writing 120 words or phrases as fast as you can. Anything that strikes you as interesting will do. Geographical names might end up as a character name, for instance. Don’t worry about that now. Write quickly.

5. When you’re done, look at your list. Your plot will develop in the next stage when you construct your actual outline. However, you’ll find those 40 trios may influence the development of your plot.

Here’s an example of a few trios:

A. peroxide, absinthe, firebomb

B. picayune, letters to the editor, Bond movie

C. Malta, the actress Pam Grier, ecstasy

D. Blue Mountains, security scan, divinity school

So, from Trio A, I see an interesting image. How about this?:  

The protester pushed past him, breaking through the line. Dressed in rags, her face was covered with a camouflage veil—a poor defense against tear gas. Her shock of peroxide blonde hair made her an easy target for police, but they shrank behind their riot shields as she menaced them with the molotov cocktail. Defiant, she stood her ground and held the green bottle high in one hand, its rag fuse alight. Green, he thought. The bottle’s contents were bright green! Who would use a $100 bottle of absinthe for a molotov cocktail?

Will I use this passage? I don’t know yet. I know I wouldn’t have come up with it had I not built my trio list, though. I’ll find out as I build my beats and scenes timeline. If I choose to deviate later, that’s okay. First drafts are supposed to be a journey of discovery, free and easy. Write the first draft for you.

You may choose to use each of your trios or you may opt out.  The point is to stir your imagination. If you find yourself stuck, going back to your trios. Find ways to incorporate them into your text (without trying too hard) to get you writing again. Try it and you may be surprised what new ideas occur to you and what spins and reels your story will take.

*Are you wondering why I chose 40 trios? Math is involved, but it’s easy. For my own fiction, I prefer short chapters that skip along. You’re going to need to write over 1,600 words per day to complete NaNoWriMo successfully. I shoot for 2,000 words a day so if I miss a day in the process, I’m still ahead of the game overall. Two-thousand words each day for 30 days over 40 chapters is 80,000 words.

You actually only have to get to 50,000 to get a pass from NaNoWriMo. Me? I want a book at the end that I can revise and 80,000 words is a good length for what I have in mind. I am not interested in participating as a writing exercise. I write plenty as it is, so I want the time spent to be productive. When I’m done the sprint, I want a first draft I can doctor. Construct as many trios as you like. Planning ahead will give you a proper blueprint for your story. You do not want to hit November 15, sit in front of your keyboard and ask that terrible question, “Now what?” Using this technique, I developed two trio sheets and two outlines for two different books yesterday. By November 1, I’ll have to choose down which rabbit hole I intend to throw myself.

Filed under: NanNoWriMo, Writing exercise, writing tips, , , , ,

Editing Exercise: Cut word density to speed reader comprehension

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There are brakes in your writing. Take the brakes off. Put your foot on the accelerator. Edit.

I’m writing a little sci-fi short story just to break things up. Here’s my original paragraph.

CONTEXT: A teen who wants to be an informant for a cruel theocratic state challenges the narrator’s father about his patriotism which puts the father’s life in danger. The next day, the boy is found murdered in an alley.

1st DRAFT excerpt:

“I am glad that bully is dead, father. He shouldn’t have spoken to you that way.”

“No, Mark. What happened to that boy is a tragedy and I grieve for him and his parents. When a child is killed, all the parents’ hopes and dreams die with him.” Mark would never forget his father’s face as he mourned his accuser. His eyes were wet.

2nd DRAFT excerpt:

“I’m glad that bully is dead, father. He shouldn’t have spoken to you that way.”

“No, son. When a child dies, his parents’ dreams die with him.” His father’s eyes were wet.

EDITING COMMENTARY: Notice what I’m doing here. I’m eliminating repeated information. I can tell the story in fewer words and not lose anything. I don’t need to explain more. I gave it to the reader once clearly. After that, I’m hitting them over the head with it instead of providing the broad strokes so they can fill in the rest of the scene. It is a rare thing to underwrite. Most people overwrite. Obviously in my first draft, I write too much. Always do. Whittling is fun.

This isn’t the only way I could have edited this piece, but I want to write this one especially short. I have a  5,000 word count for this project and a lot of things happen before we get to the end, even though the structure is a slow build to a twist ending.

When I read something that is dense to read, where obvious economies are not eliminated, I often get bored and I wonder if the author is trying to disguise a lack of plot.

BONUS:

Don’t repeat yourself. Don’t repeat yourself.

 COMING THIS WEEK ON CHAZZ WRITES:

A five-part series, Monday to Friday, on a ton of useful links from

some the best writing and publishing experts I could find.

Tune in Monday morning for

MASSIVE LINK WEEK!

 

 

Filed under: Editing, manuscript evaluation, My fiction, publishing, Writing exercise, writing tips, , , ,

Winner of Writer's Digest's 2014 Honorable Mention in Self-published Ebook Awards in Genre

The first 81 lessons to get your Buffy on

More lessons to help you survive Armageddon

"You will laugh your ass off!" ~ Maxwell Cynn, author of Cybergrrl

Available now!

Fast-paced terror, new threats, more twists.

An autistic boy versus our world in free fall

Suspense to melt your face and play with your brain.

Action like a Guy Ritchie film. Funny like Woody Allen when he was funny.

Jesus: Sexier and even more addicted to love.

Write to live

For my author site and the Chazz network, click the blood spatter below.

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