My Favorite Writing Tools (Plus: A Craft!)

pencil on white smartcase near eyeglasses
Photo by Pixabay on Pexels.com

Today I wanted to share some of the writing tools I’ve discovered over the years, tools that have helped me along on my writing journey. Lest this post become unwieldy, I’ve limited myself (for now) to four different types of tools, a writing blog, submission tracker, software, and hardware. I incorporate all of these in my regular writing routine.

Note: None of this is sponsored, I just really like these things.

Blog: Jane Friedman

I’ve mentioned this one several times on my site, but it bears repeating because it’s one of my go-tos for writing resources and how-to articles. From basics like how to write a query letter to deep dives into craft topics, there is something for writers of every level. I look forward to the digest email every Sunday.

Visit Jane Friedman’s blog here and see for yourself.

The Pros! You’ll learn a lot.

The Cons? Reading takes time, I guess?

Bonus recommendation! I recently read Jane’s book The Business of Being a Writer. While it is dense, it’s not necessarily meant to be read cover to cover. Pick and choose the topics most interesting to you based on the kind of writer you are (academic, literary, short fiction, novels, commercial) and the stage you’re at in your career (e.g. What is a query letter? How to make best use of a publicist prior to book launch).

Submission Tracker: QueryTracker and The Submission Grinder

If you’re submitting to literary agents, QueryTracker is your best friend. I use it both to find agents and to track my submissions. It’s also linked to QueryManager, which many agents use, so sometimes it will log and track submissions automatically. I do pay for the premium account, which costs $25 a year, but that is absolutely not necessary; the free version gives you plenty of functionality and I got along with it for years without feeling like I was missing out. Since I’ve already discussed QueryTracker on this site, so you can read more about it in this post: How to Find a Literary Agent.

If you’re more inclined towards short stories or poetry, The Submission Grinder is my preferred tracker. They’re a little old school, but their search function is great at sorting magazines by genre, whether they pay, accept simultaneous submissions, and more. This is where I go to find new markets to submit to. ChillSubs has a lot of cool options and a sleeker design, but they’re still developing and their database isn’t as robust as the Submission Grinder’s is, so for now I’m sticking with what works.

Check out The Submission Grinder here.

Software: Scrivener

I’m typically the last person to try a new product, especially if it costs money or, worse, it’s popular! Maybe I’m a geriatric in a young person’s body, but what’s wrong with doing things the old way, so long as they work? Friends, I thought the same about Scrivener, and boy was I wrong.

Do you absolutely need it? No. You can get by with simpler word processors like Microsoft Word, Mac’s Pages, a free software like OpenOffice, or even older methods of writing like typewriters or a notebook and pen. However, after using Scrivener for two years, it’s something I recommend to any writer who has more than a two-second conversation with me.

What is it? Scrivener is a word processor, but it’s also a means of organizing your thoughts, plot, research, and more.

What are the Pros? Instead of opening multiple word documents (WIP, character names, character timeline, outline, etc.), it’s all in a single convenient place, easily searchable too, if you can’t remember where you’ve put something. With the ability to save each draft of a scene, color coding, keywords, a phenomenal “corkboard” for organizing the plot, and windows for notes and scene synopsis, the pros are many.

What about the Cons? Most notably, it costs money, (a one time $60 expense) although it’s way less than you’ll end up spending on a program like Microsoft Word and the publisher usually offers a discount for anyone who finishes NaNoWriMo or Camp NaNoWriMo. I think I paid $30 or $40 for mine.

The real, if temporary, drawback is that it has a learning curve. It’s not like any other word processor you’ve used and there are so many tools at your disposal that take time to get used to.

My suggestion? Download the 30 day free trial and go through the tutorial a few times to get the feel of it. Give yourself a period of time to experiment without the pressure of working on your WIP. I’m sure, like me, you’ll end the month wondering how you ever got along without it.

Get a 30 day trial of Scrivener here or wait until November to get the discount.

Hardware: A Notebook (Craft Time!)

One of the most basic tools in a writer’s arsenal is a notebook to carry around and jot observations, ideas, snatches of dialogue, or (let’s be real) a grocery list.

This is a super simple pocket notebook that anyone can make with materials you probably already have around the house.

Materials
14 sheets of 8.5×11 printer paper or lined notebook paper
1 sheet 8.5×11 cardstock (any color) or similar, like an old birthday card with a nice front
scissors or paper cutter
ruler
pencil
awl, needle, or something with a sharp point
string like embroidery thread, cotton string, yarn, even birthday ribbon

Instructions
1. Take your printer paper and cut it in half so you end up with sheets 8.5″ wide and 5.5″ tall. Do the same with your cardstock or cut your greeting card to the same size.

2. Fold your sheets in half so the folded paper is 4.25″ wide and 5.5″ tall.

3. Using a ruler and pencil, mark on your paper where your holes are going to go. I’d recommend a minimum of three, for stability. My preference is six holes. Starting from the bottom of my paper, I make my first hole 1″ up, then every 3/4″ from there. Use the same measurements to mark holes on your cardstock.

4. Use something sharp to poke the holes in the paper and the cardstock. I used a sewing pin before I bought an awl. Just make sure you put something underneath the paper to protect your table!

5. Run your thread through the holes to bind. You may need a needle for this, or a piece of tape wrapped around the end of the string depending on what material you’re using. This got a little confusing so I made a little diagram:

To hide my knot, I start on the outside of the folded paper, passing through the bottom hole (step A). Come back out through the second hole, this time through the cardstock as well. Keep going in and out, passing through all the layers. When you get to the top hole, go back through in the opposite direction (step B), making sure the thread is pulled tight. Tie your knot at the bottom (step C).

6. You have a notebook! You can draw or color on the outside if you like, or just shove it into your pocket and go out to find writing inspiration.

Here’s my latest version.

In Conclusion…

Maybe you’re now a diehard Scrivener user. Maybe all you got out of this post was a cool new notebook. Either way, hopefully something on this list was helpful to you.

Happy writing!

How to Publish Your Novel: How to Write a Synopsis

Years ago, when I first thought I might become a published author someday, I started researching how to achieve my goals. What I found was completely overwhelming. I needed an agent, but there were thousands of them. Each of them wanted different documents I had never heard of. Query? Synopsis? What?

In this series, I’m going to share what I found and break down how to publish your novel. I’ll cover a the difference between the types of publishing currently available, writing a query letter, writing a synopsis, and finding the ideal agent to query. The process can seem overwhelming, but I hope to offer some clarity and simplicity so you can approach publishing with confidence.

Welcome to Part 5: How to Write a Synopsis. Catch up on previous sections here:
Part 1: Self-Publishing vs. Traditional Publishing
Part 2: How to Find a Literary Agent
Part 3: How to Find the Best Literary Agents
Part 4: How to Write a Query Letter

What is a Synopsis?

There are several parts to the query package including the query letter, synopsis, and manuscript pages. The query letter, which I covered in the last post, is basically a cover letter and includes a short blurb about your book. The blurb is like something you’d read on the back of a book: it gives you the gist of the main character and the obstacles they’re going to have to overcome. The blurb is often cliff-hangery, enticing someone to read more.

The synopsis is the opposite of that. It outlines your novel from start to finish and includes ALL the spoilers. A synopsis reveals every major twist and even describes the ending.

Every agent will need a synopsis at some point in the publication process. Many agents prefer to read manuscripts without spoilers, but a synopsis might entice them to keep reading if they reach a slow part. (It might also cause them to stop reading, but in that case, they wouldn’t have been a good fit anyway).

Even if an agent never opens up your synopsis, they’ll need it to send to editors at publishing houses; the editors will need it for the marketing department and cover design; and, in the future, hopefully others in audio, foreign, and film rights will need it too.

If an agent requests a synopsis as part of the query package and you don’t send one, it reflects poorly on you and your work ethic. There are plenty of other writers who will send in the requested documents, so give yourself the best chance and send in a great synopsis.

Format of a Synopsis

Formatting: A synopsis is always written in present tense, third person point of view, regardless of the tense and POV of your novel. Additionally, people and places, when mentioned for the first time, are often written in ALL CAPS.

Length: This varies by agent. The general consensus is to stick to two- to four-pages, single spaced, but many agents will ask for a single page (also single spaced). While you’re working on your synopsis, you might want to consider writing both a one page version (500 words) and a longer version (1000+ words).

Voice: Though a synopsis should be succinct, don’t be afraid to convey the voice of your novel and your character’s emotions.

Content: A synopsis should cover the entire book, beginning to end. You shouldn’t include every single plot point and all the minor characters, but don’t leave out major plot twists or the ending.

How to Write a Synopsis

A synopsis can be so daunting to start because it seems impossible to distill a 400-page book down to a single page. One of the simplest, clearest methods I’ve come across is the Fairy Tale method. With this formula, the synopsis is structured as follows:

  • Once upon a time there was a… (introduction to protagonist)
  • Every day [this] happened, until… (normal life and inciting incident)
  • Because of that… (fun and games)
  • Because of that… (repeat this one as necessary)
  • Until, finally… (climax)
  • And ever since that day… (resolution)

Of course, we’re not actually going to use this fairy tale language, just the structure.

Start the synopsis with your main character(s); give a brief description of who they are and their motivations in one to two sentences and move right into the inciting incident. What gets the protagonist involved in the plot? It should be clear right away what the protagonist’s goal is and what the stakes are if they don’t achieve that goal.

If your novel is science fiction, fantasy, or historical, or has an otherwise complex world, it may be necessary to include a sentence or two about important aspects of the world, but only if it’s crucial to understanding the plot.

Moving into the fun and games section, cover only the main plot points and the bare minimum of characters needed to understand. Don’t include B plots or side characters, no matter how beloved they are to you. While it’s important to keep the plot moving here, a great synopsis will also convey the protagonist’s emotions and hint as to how they change over the course of the story.

Tip: Using all caps the first time you introduce new characters or places is standard practice, but it can be doubly helpful here, because you can see how many names you have. Try to keep it to about five named characters or less, otherwise things will get too complicated.

Last, indicate how the conflicts are solved and how the character has grown. Do not withhold the ending! Agents are expecting to see spoilers in the synopsis.

This format can (and should) result in a pretty sparse document. For a longer synopsis, you can add a few more details, but still try to keep your writing spare and avoid including a laundry list of characters. However, a synopsis shouldn’t be boring or read like a technical manual. Add some flavor and include the character’s emotions throughout.

Now that you’ve written a succinct, compelling synopsis, it’s time to put everything together and submit to agents! In the next post, I’ll go over how to create an efficient submission package that will streamline your querying process and ensure you always submit the right documents to the right agents.

References and Further Reading

This is only a brief overview of how to write a great synopsis. See the resources below for more details about what and what not to include in your document.

BookEnds Literary Agency, How, When & Why to Write a Synopsis (YouTube video)
Jane Friedman, How to Write a Novel Synopsis
MasterClass, How to Write a Novel Synopsis: Step-by-Step Guide
Writer’s Digest, Learn How to Write a Synopsis Like a Pro

How to Publish Your Novel: How to Write a Query Letter

Years ago, when I first thought I might become a published author someday, I started researching how to achieve my goals. What I found was completely overwhelming. I needed an agent, but there were thousands of them. Each of them wanted different documents I had never heard of. Query? Synopsis? What?

In this series, I’m going to share what I found and break down how to publish your novel. I’ll cover a the difference between the types of publishing currently available, writing a query letter, writing a synopsis, and finding the ideal agent to query. The process can seem overwhelming, but I hope to offer some clarity and simplicity so you can approach publishing with confidence.

Welcome to Part 4: Query Letters. Catch up on previous sections here:
Part 1: Self-Publishing vs. Traditional Publishing
Part 2: Finding an Agent
Part 3: Finding the Best Literary Agents

Query Letters

You’ve compiled a list of agents and whittled it down to the ones you think are the best fit for your manuscript. But they want all sorts of documents and one of them is something called a query letter.

A query letter is basically a cover letter and it is your first chance to introduce your book to an agent. However, because it is usually the first (and sometimes only) thing an agent reads, it has to pack a punch in very few words.

There are a few basic sections that make up most query letters:

  • A personalized introduction
  • Manuscript stats / comp titles
  • A short description of the manuscript aka the “query blurb”
  • Any relevant personal information

Let’s write a query letter based on these four parts.

The Introduction

You’ve done your research and selected agents who may be a good fit for you. When writing the introduction, focus on what made you choose that particular agent.

For example:

Dear Ms. Tome, [This should always be the agent’s name and never “Dear Agent”]

On your website, you mention seeking sweeping, epic fantasies with a focus on female friendships and questions about morality.

This is a made up query about a fake book, but the gist is that you’ve picked this agent for a reason, and you should let them know what it is. This shows two things: that you think they’re a good fit (and so should they) and that you’ve done your research.

Manuscript Stats

In this particular letter, I would put the manuscript stats (genre, audience, word count) right after the introduction, but it could also go at the end of the letter, after the query blurb. Put it wherever it seems to fit.

My adult fantasy novel, DRAGON SKY (100,000) focuses on unlikely female friends who struggle with right and wrong. It is the first in a planned trilogy.

Include the word count in parentheses after the title. Note that this had better fit into the standard word count range for your genre as anything outside that range could be an automatic rejection. There is a handy word count guide here.

If the book is the first in a planned series, include that in this paragraph. You can also include comp titles here. No need to say that the manuscript is complete–it had better be, if you’re querying agents!

Comp Titles

Comp titles are usually included in the paragraph with the manuscript details, but it gets its own section in this article because there are a several important things to know. Comparison titles will give the agent an idea of similar books and, specifically, if you were in a bookstore, what books might you expect to find on the shelf next to yours.

A good comp title will be no more than five years old from the time of querying. Ideally, it will be no more than three years. Yes, that makes things difficult, but as a writer you should constantly be reading in (and out of) your genre, especially new books. If your comp is a series, the important date to note would be the publication date of the first book in the series.

Please, please, don’t list Stephen King as a comp. No one is comparable to Stephen King. Same goes for J.K. Rowling and other uber-famous authors.

Comps should be in your genre. Ideally they will also be in your age group (middle grade, YA, adult, etc.). While it’s possible to list a book of a different age group as a comp, you should endeavor to make sure the other comp(s) are within your age group. You can comp other media, like movies or shows, but again, the other comps should be recent books in your genre and age group.

When including comps in the query letter, you can write something like:

DRAGON SKY will appeal to those who enjoy the strong friendships of TETHERED by Jo Brooks and the mystical worldbuilding of HEAT OF THE MOMENT by Sherie Amil.

Or,

TETHERED by Jo Brooks meets HEAT OF THE MOMENT by Sherie Amil in my adult fantasy novel DRAGON SKY (100,000).

Query Blurb

The “blurb” comes next and should read like the back cover or inside flap of a published book. There are a lot of resources that explain how to write a great query blurb, including Query Shark, Jane Friedman, and the BookEnds Literary Agency YouTube channel, so I won’t go into excessive detail here.

In the wise words of Query Shark, the agent needs to know only a few things:

  • Who is the main character?
  • What do they want?
  • What’s stopping them from getting it?
  • What choices must they make?
  • What’s at stake with those choices?

A query should convey this information within 200-350 words. Blurbs are always written in third person, present tense, regardless of the POV or tense of the book. Ideally, the blurb will have a similar tone as your book (i.e. a serious book shouldn’t have a jokey, lighthearted query and vice versa) and will convey an idea of the world, without going into too much depth.

Dragontamer Jarga Thistlemane has a problem. The dragon in her care escaped from its cage last night and Jarga has no idea where it is. If she doesn’t find it by week’s end, Jarga’s boss will fire her. Jarga needs this job to pay off her family’s debt, but that’s not the worst of it: the dragon’s owner is Kael Zephith, the most ruthless noble in the city. If he learns his dragon is missing, he’ll do far worse things to Jarga than take her job.

Jarga sets out to find the dragon, but everything goes wrong from the beginning. First, her annoying neighbor Sorrel insists on “helping” and comes along for the journey. Then, the two are pursued by the murderous local gang. Jarga soon learns that Sorrel stole information from the gang. Information that could lead to Jarga’s missing dragon. Information that could incite the wrath of Kael Zephith.

Jarga and Sorrel must work together to evade the gang and find the dragon before Kael Zephith finds out–or finds them.

Keep things short and simple. Two or three paragraphs will never be enough to convey the complexity of an entire novel, so distill it down. Don’t include more than two or three named characters and focus on one main plotline.

I highly recommend checking out the resources above for in-depth articles about writing great query blurbs.

The Author Bio

This can be an agonizing paragraph for writers who don’t have publications, but it doesn’t have to be.

[To be clear, by “publications,” I mean that an editor of a literary journal accepted your work–this can’t be something that you posted to your website or social media, and it’s not something you paid to have online. For example, I once paid a fee to enter a writing contest and all the stories submitted to that contest were later posted on the website. I do not count this as an authentic publication since I was not “chosen” by the editor. Academic or non-literary writing does not qualify unless it is directly related to the story you’re writing. (E.g. you published an academic paper about the rise of the Ottoman Empire and your story is about the rise of the Ottoman Empire.)]

If you’ve been published–great! You can definitely include that. If not, don’t sweat it. Not having publications isn’t as big a deal as writers think.

There are a few ways to approach the bio section of the query.

Leave it out! That’s right; just forgo it entirely. There is a caveat to this. If an agent specifically requests that you include a bio in the query letter, I would prioritize following those instructions. Additionally, agents using Query Manager are increasingly including a bio section in their forms. You should plan for this eventuality.

To deal with this, just write a few short sentences about yourself. Where you live, perhaps, or what your job is–bonus points if it’s something weird or unique. Do you have any strange hobbies or skills? Be honest here; it’s great if you can catch an agent’s eye, but they’re not going to request your manuscript just because you’re a skydiving wedding officiant. Again, if your job/hobbies is directly relevant to the story you’re writing, include it!

I received my degree in aeronautics from Griffith College in the 1980s. I live in Misthaven, CT where I have worked as a horse tamer for the past 20 years.

Closing

Don’t overthink it.

Thank you for your time and consideration.

Sincerely,
Loren Glider

Putting it All Together

Based on what I’ve written above, we end up with a query letter that looks something like this:

Dear Ms. Tome,

On your website, you mention seeking sweeping, epic fantasies with a focus on female friendships and questions about morality. TETHERED by Jo Brooks meets HEAT OF THE MOMENT by Sherie Amil in my adult fantasy novel DRAGON SKY (100,000). DRAGON SKY focuses on unlikely female friends who struggle with right and wrong. It is the first in a planned trilogy.

Dragontamer Jarga Thistlemane has a problem. The dragon in her care escaped from its cage last night and Jarga has no idea where it is. If she doesn’t find it by week’s end, Jarga’s boss will fire her. Jarga needs this job to pay off her family’s debt, but that’s not the worst of it: the dragon’s owner is Kael Zephith, the most ruthless noble in the city. If he learns his dragon is missing, he’ll do far worse to Jarga than take her job.

Jarga sets out to find the dragon, but everything goes wrong from the beginning. First, her annoying neighbor Sorrel insists on “helping” and comes along for the journey. Then, the two are pursued by the murderous local gang. Jarga soon learns that Sorrel stole information from the gang. Information that could lead to Jarga’s missing dragon. Information that could incite the wrath of Kael Zephith.

Jarga and Sorrel must work together to evade the gang and find the dragon before Kael Zephith finds out–or finds them.

I received my degree in aeronautics from Griffith College in the 1980s. I live in Misthaven, CT where I have worked as a horse tamer for the past 20 years.

Thank you for your time and consideration.

Sincerely,
Loren Glider

Final Thoughts

I find it helpful to write three (or more!) queries from scratch over the course of a few days. This can help you think outside the box and loosen you up. The first version is almost never the best version, so keep trying.

Take inspiration from the back cover copy of your favorite novels, as well as recently released novels to see what’s fresh.

Have multiple people read your query blurb and give feedback. Where were they confused? What did they find interesting?

And lastly, follow an agent’s submission guidelines. If they want a bio, include it. If they want the manuscript stats at the bottom instead of the top, move it. If they want a one paragraph blurb instead of three… well, get cutting!

Next Steps…

Believe it or not, the query letter was the easy part. Buckle up for the next post, “Synopsis,” where I’ll cover what agents expect and how to write one.

References and Further Reading

Query Shark
Jane Friedman
BookEnds Literary Agency YouTube Channel
Queries, Qualms, and Quirks
Quite The Query

Writing Prompts

Prompts are a great way to get inspiration and get started writing.

Download this free PDF with 100 writing prompts to choose from and see what stories take shape. If you’re up for a challenge, try writing a complete story in less than 1000 words.

Or, to receive a random prompt, click the Generate button!


If you need something more visual, try using one of the images below as a picture prompt.

Happy Writing!


How to Write at Home Without Distractions

A couple months ago, my partner and I moved in with my parents in an effort to change our lives and save some money. While it seemed like I would have a lot more time for writing, I found that I actually had less time. Distractions were everywhere. With five adults living together, as well as a home office that employed another three people, (not to mention two cats and nine chickens) there were a lot of things vying for my attention. Some days I sat down to write, only to be immediately interrupted by something “urgent.” (Or, perhaps, less urgent, but quite interesting). Some days I ended up not writing at all—which left me feeling dissatisfied and out of sorts.

A lot of people, no matter their hobby, have found themselves in the same situation. Coronavirus has changed how we live and work, leaving more of us at home during the day and routines completely dismantled. Couple these disruptions with a bombardment of dire news, writers now seem to have less time and energy to work on their projects.

But writing is a part of us and we must find a way to fit it in to our lives in order to thrive. So, how can we avoid distractions and create a routine while writing at home?

Below are six (and a half!) ways to get your writing back on track.

Communicate with housemates

A lot of writers have found themselves living with family or staying at home, where they are surrounded by other people. Most of the time, family doesn’t understand that writing is something you must do. To them, it’s an oddity, a hobby that you can do any time. The first step to writing without distractions is to communicate with housemates that you are not to be disturbed when you’re writing. Perhaps it’s a certain time of day, or when you’re in a specific location. Maybe you even make a sign: Writing: Do Not Disturb. This conversation is crucial to ensure that everyone is on the same page when it comes to your boundaries.

Find a place to write

Sometimes, even after you’ve explained that you’re unavailable while writing, people think, Surely I can just tell them this one quick thing… Which turns into many other not-so-quick things. Writing at my kitchen table is an impossibility during the day, where, even if I have headphones in, family members talk to me or come in with groceries (and I have to help—I don’t want to look like a jerk!). Learn the places where you’re more prone to interruptions and avoid writing there. It helps if you have a separate space to go, like an office, but many people aren’t so fortunate, and businesses like Starbucks or Barnes and Noble no longer offer seating. I’ve found that the loft of our mudroom is a great place to be productive during cooler days, mostly because no one suspects I’m up there. They can’t interrupt me if they can’t find me! Your bedroom, a little-used living room, or an outdoor area can also be good places to go in your home, while many local libraries and parks are also open for use.

Analyze your rhythms…

It’s always a good idea for writers to know their most productive times. If you’re a night owl, getting chores and errands done during the day will leave time for writing in the evening. Early birds work best when they fit in a writing session before the day begins. And daytime folks get things done early, settle down for a midday brainstorming session, and focus on other things later in the evening.

…and those of the people around you

However, night owls might find their routine disrupted by movie or game nights; early birds won’t be able to concentrate at the kitchen table if everyone else is making breakfast; and daytime folks might find it hard to do anything at all when a housemate is vacuuming or on a business call.

For those who can’t escape to a private spot during their optimal writing time, look at the routines of the household. Maybe breakfast is your optimal writing time, but waiting an extra hour or two might clear out the house for some peace and quiet. Shifting your writing a little earlier or later isn’t always ideal, but a focused session without distractions will yield better results than trying—and failing—to keep your old routine.

Develop a writing ritual

Let yourself know when it’s time to concentrate by creating a ritual. Perhaps it’s lighting a favorite candle, listening to specific music, or making a cup of tea or coffee. Doing the same things right before a writing session—regardless of when you manage to fit it in throughout the day—can establish a mindset before you even open a notebook or computer. Yankee Candle’s delicious Spiced Pumpkin candle always bumps up my mood—and my productivity—immediately.

Schedule time for distractions

I used to have a routine. I would get up, sip my coffee while checking social media, and eat breakfast while I read and responded to emails. Only after doing all this was I ready to get to work. This downtime might seem pointless, but it served a very important purpose: to get rid of the distractions early, so I could devote time to writing later. With my new schedule, I realized I didn’t have the time to scroll through Instagram or Tumblr and my inbox was getting out of control. Any time I said I was writing, I ended up doing other things online instead. Now, I know that I need to spend some time addressing emails, futzing around online, and even watching a little bit of Great British Baking Show to make sure I’m ready to write when the time comes.

Establish attainable goals

We all have good intentions. Finish editing that manuscript. Brainstorm a story idea. Write a new chapter or two on the current WIP. Things don’t always go according to plan, though, and it can be disheartening not to make as much progress as you wanted. The trick is to establish a goal that is so easily attainable, it would be silly not to attempt it. Something like “write 100 words a day,” or “work on my WIP for 20 minutes” or even “write something, anything, each day.” Some days, you might barely manage to meet your goal. Other days, that 100 words turns into 2000. A habit tracker is a great tool, especially if you want to get into a writing routine. It doesn’t measure how many words you wrote or how long you spent; it simply tracks whether you worked on your project. You can make one easily in a journal or on a wall calendar by marking an X on the days you did something, whether that’s writing, brainstorming (with intention), or editing. Sometimes seeing a little line of X’s accumulate can be all the motivation you need to keep up the trend.

Writing at home can be frustrating, stressful, relaxing, rewarding, surprising… Some days are better than others—productivity-wise, mental health-wise, mood-wise—and that’s okay. Give yourself a little forgiveness when you can’t quite achieve your goals, even as you try to find ways to carve out a creative space for yourself in this new life we’re all living.

As always, happy writing!

How to Structure a Novel: Six Types of Narrative Structure and Which is Best for Your Story

You’ve created an imaginary world and populated it with well-rounded characters. You’ve pinpointed the conflict and dreamed up a gratifying conclusion.

But how do you knit it all together into a satisfying story?

Narrative structure is the scaffolding that holds your story together. Think of it as a wire form over which you can papier-mâché the beautiful details that make your story special: plot, setting, and characters.

There are several well-known narrative structures to choose from, some of which have been around for thousands of years. Below are six common structures that have different effects on a reader’s experience.

Read on and find out which one is best for your story, or jump to a specific one using the links below.

Three Act Structure
Fichtean Curve
In Media Res
Frame Narrative
The Hero’s Journey
The Heroine’s Journey

https://www.tomgauld.com/

Three Act Structure

You may remember the three act structure from high school English when you used it to outline Greek tragedies and Shakespearean plays. It is still a popular structure for modern novels and movies.

Act One takes up approximately the first quarter of the story, introducing your characters and your world. At some point during this section, the “Inciting Incident” occurs, drawing your main character into the action. This Act establishes the main question of the story: Will the heroine defeat the villain? Will the man find love? Will the lawyer win the case?

Act Two, which comprises the majority of the story, is mostly “rising action.” The main character tries to solve a problem, but often ends up in a worse situation. They must develop skills (here’s your character arc!) in order to overcome the obstacles before them.

Act Three occurs in the last quarter of the story. It contains the climax as well as the denouement, or descending action, that wraps up loose ends and draws the story to its conclusion.

https://goteenwriters.com/2013/03/05/story-brainstorming-sheets-for-download/

Fichtean Curve

The Fichtean Curve begins immediately with rising action, which peaks at a mini crisis, followed by brief falling action. This cycle repeats, resulting in a series of crises that all lead to the main climax around two-thirds of the way through the book.

This structure leads to an action-packed story that keeps readers turning pages.

https://www.well-storied.com/blog/3-awesome-plot-structures-for-building-bestsellers

In Media Res

Writers may be familiar with this Latin phrase for “in the middle of things.” Scenes often start in media res, but the term also refers to a plot structure in which the story as a whole starts in the middle of things. Looking at the Three Act Structure above, a story that uses In Media Res as a narrative structure would begin at the midpoint of Act Two, during the middle crisis.

This throws the reader directly into the action. The story basically follows the rest of the Three Act Structure, with rising action, climax, and falling action, while also cluing the reader in to how the conflict all began.

Thrillers or mysteries often use this structure to start with high tension that only increases as the story progresses.

https://blog.reedsy.com/story-structure/

Frame Narrative

A story within a story within a story (within a story)…

A Frame Narrative, which embeds one story (or more) within another, has been popular for centuries, even dating back to ancient Egypt and India. Perhaps the most well-known modern examples are the movies The Titanic (wherein Rose tells the story of her experience aboard the ship) and Inception (which has dreams embedded within other dreams). Mary Shelley’s Frankenstein and One Thousand and One Arabian Nights also use this structure.

The Hero’s Journey

One of the most popular structures for fantasy and science fiction, the Hero’s Journey, is circular, rather than linear. Outlined by Joseph Campbell in his book, The Hero with a Thousand Faces, it is another ancient story structure in which a character leaves home, faces obstacles, and returns triumphant.

This story begins when the hero’s life is interrupted by a call to leave home and go on a journey or quest (Call to Adventure); occasionally, he initially refuses. He meets a guide who gives him the tools needed to embark on his journey (Supernatural Aid). A minor obstacle marks the departure from the known world into the unknown (Threshold Guardian) and the hero begins his adventure (Threshold). Along the way, he gets aid from friends (Helper, Mentor) and faces challenges and temptations that attempt to lead him astray. He confronts the villain and fails (Abyss). All seems lost. The hero must turn inward, think differently, or draw on power he didn’t know he had in order to move forward (Transformation). Finally, the hero can achieve his goals and defeat the villain (Atonement). Victorious, he returns to the same place he began, but he is different; he has grown, and things can never quite be the same again (Return). The Lord of the Rings is a classic example of this structure.

https://en.wikipedia.org/wiki/Hero%27s_journey

The Heroine’s Journey

In a counterpoint to the Hero’s Journey, the Heroine’s Journey more specifically addresses the modern female (or non-male) experience. Outlined by Maureen Murdock in her book The Heroine’s Journey: Woman’s Quest for Wholeness, the Heroine’s Journey is also circular, but with different plot beats.

The story begins when the heroine rejects her feminine side to achieve success in a patriarchal culture (Separation from the Feminine). She then chooses a masculine social role or identity, allying herself with powerful males (Identification with the Masculine). She experiences obstacles (Road of Trials) and eventually overcomes them (Boon of Success). Her success, though, comes at a price; her new life is shallow and she has had to betray herself in the process (Awakening of Feelings). She suffers an internal crisis. She meets a goddess figure, who inspires her return to femininity (Initiation and Descent to Goddess). However, the heroine can’t simply return to her old life (Urgent Yearning to Reconnect). First, she must reclaim the feminine values she initially scorned (Healing the Mother/Daughter Split) and come to terms with the masculine within (Healing the Wounded Masculine). Finally, she integrates the two aspects of herself, keeping a balance between both sides (Integration of Masculine and Feminine).

https://maureenmurdock.com/articles/articles-the-heroines-journey/

Which Narrative Structure Should I Use for My Story?

Whether you’re a “pantser” or a “plotter,” thinking about the structure of your story before you start writing can create a smooth narrative and a gratifying ending for your reader. But how do you know which framework is the best for your purposes?

If you already have most of your story planned, see if the plot beats line up with one of the structures above. If you haven’t quite gotten that far, you can pick one and craft your outline around the one that speaks to you.

The Three Act Structure is one of the most common frameworks used in modern storytelling. It would work well for most types of stories and would be a good starting place for most writers.

The Fichtean Curve is very similar to the three act structure, although it starts into the action immediately and keeps up a quicker pace throughout. Movies use this method to keep audience members at the edge of their seats.

In Media Res is most often used for mysteries and thrillers because it keeps the audience guessing as to how the situation began.

A Frame Narrative works best in combination with another type of structure. In One Thousand and One Arabian Nights, the overarching story of Scheherazade could have been its own novel, while each of the tales she tells has a beginning, middle, and end.

The Hero’s Journey has long been a favorite of fantasy and sci-fi writers because the main character travels from the known to the unknown (e.g. a magical world). The key to this structure is that the hero ends up back where they started.

In the Heroine’s Journey, the protagonist also ends up where they started, though this framework is more specifically geared towards the female/non-male experience in navigating a patriarchal culture.

There are more varieties of narrative structure than are listed here, though these are some of the most common and some I find most interesting. No one narrative structure is “right,” but it helps to understand these frameworks when crafting your own story. Try them out and feel free to adjust and combine as you see fit.

Bibliography and Further Reading

Now Novel, “Three act structure: How to write a satisfyingly structured novel”
Go Teen Writers, “Story Brainstorming Sheets for Download”
well-storied, “3 Awesome Plot Structures for Building Bestsellers”
Writer’s Edit, “Literary Devices: How to Master Structure”
Reedsy Blog, “Story Structure: Three Models for Your Book”
Wikipedia, “Frame Story”
KU: Gunn Center for the Study of Science Fiction, “Science Fiction Writers Workshop: Joseph Campbell’s Hero’s Journey”
Wikipedia, “Hero’s Journey”
Reedsy Blog, “Hero’s Journey 101: Definition and Step-by-Step Guide (With Checklist!)”
Masterclass, “Writing 101: What is the Hero’s Journey? 2 Hero’s Journey Examples in Film”
Maureen Murdock, “Articles: The Heroine’s Journey”
The Heroine Journeys Project, “Maureen Murdock’s Heroine’s Journey Arc”
Wikipedia, “Heroine’s Journey”

How to Publish Your Novel: Finding the Best Literary Agents

2 Comments

This article was updated 2/2/2023

Years ago, when I first thought I might become a published author someday, I started researching how to achieve my goals. What I found was completely overwhelming. I needed an agent, but there were thousands of them. Each of them wanted different documents I had never heard of. Query? Synopsis? What?

In this series, I’m going to share what I found and break down how to publish your novel. I’ll cover a the difference between the types of publishing currently available, writing a query letter, writing a synopsis, and finding the ideal agent to query. The process can seem overwhelming, but I hope to offer some clarity and simplicity so you can approach publishing with confidence.

Welcome to Part 3: Finding the Best Literary Agents. Catch up on previous sections here:
Part 1: Self-Publishing vs. Traditional Publishing
Part 2: Finding an Agent

Or, skip ahead:
Part 4: How to Write a Query Letter

Literary Agents:
How Do I Find THE One?!

If you read last week’s post, you’ve now poked around the internet and found lists of literary agents. Many, many agents. But you do you find THE agent for you?

This is the research method that works best for me. There is no “right” way, so take what you like and develop your own system. My system has evolved over the years and I currently use both QueryTracker and a spreadsheet to organize things in the way that makes the most sense to me.

Start a Preliminary List

Let’s get a rough list of potential agents together. Open a new document in Excel, Google Sheets, whatever spreadsheet program that works for you.

Ready?

I label the columns as such: Fit, Agency, Agent, Website, Notes, Query Method, Synopsis, Pages, and Response Time. That seems like a lot, but I want to save myself from having to look up information later–a lesson learned the hard way.

In the last post, I covered finding potential agents online. I start with QueryTracker, choosing my genre from the sidebar to find which agents represent the kind of story I’m writing. Don’t pay too much attention to who is open or closed to submissions at this stage. It changes so often, it’s not worth focusing on right now. (QueryTracker has simple videos about how to get started if you need help).

QueryTracker currently lists 355 agents who represent fantasy. Some of these are out of my country, so I’m going to ignore those, because I want a US agent. That brings the number down a little, but there are still too many to look at. You can research every single one, if you like, but I prefer to start with the more well-known agencies, or agencies that have a lot of agents representing my genre. I know that will save me a step later, because I can go to one website to get information for multiple agents.

Start filling in your table. Write the agency name under “Agency” and the specific agent under “Agent.” If more than one agent is listed for each agency, feel free to write them on a new line or just leave that cell open. If there’s a website, copy that down as well.

You now have a chart that looks something like this:

When you have a decent number of agents/agencies to look at, say 20 or 30, it’s time to dig in.

Fill in the Blanks

Starting at the top, visit the first agency website. What you’re looking for is a list of agents and what types of manuscripts they want. Some websites have this information in a section called “agents,” some have it in “submissions,” or “about.” Some have it in multiple places! Scour the website. The whole thing. In your spreadsheet, start filling in some of the other columns–but only for agents who seem like a good fit.

Under “Notes,” jot some things the agent likes. Sweeping, epic fantasies. Mystery with a bit of romance. Stories about families. Corgis. Whatever seems relevant to your manuscript.

They will also have a preferred query method, typically email or Query Manager, which I note under “Query Method.” Note whether they like to receive a synopsis (Y/N). If they want the first several pages of your novel, how many? If there’s information on response time, put that in, too. It will save you from wondering later.

Getting Organized

While you’re reading up on each agent, you’ll get a sense of their personality and preferences. You’ll also get a sense of whether this person may be right for you and your manuscript. Here’s where the “Fit” column of our spreadsheet comes in. Rank each agent from 1 (terrible fit) to 5 (absolutely amazing). I do keep a list of the ones who aren’t a good fit to avoid forgetting and trying to re-research them later.

Now your spreadsheet might look something like this:

By the end, you may have a list of 50 or more agents with varying ranks. It’s time to pare down the list.

But How Do I Find the Perfect Agent?

Start with agents ranked 4 or 5. Revisit their website.

We’re going to give each agent a secondary fit ranking. For example, if you noted someone was a 5, a perfect fit for your manuscript, and you find they’re still a perfect fit, mark them 5-5. Someone who’s “merely” an excellent fit might get a 5-4. This will help you organize batches of submissions.

If you have multiple agents from the same agency listed, you’re going to have to pick just one. You can save their information for later, but most agencies frown on duplicative submissions unless explicitly stated.

You now have a list of the 15-20 agents you think are the best possible fit for your manuscript.

Who Do I Submit to First?

Submissions should be done in rounds. Do a little rearranging of your list to create bundles of 5-10 agents each. Your first round of submissions might go to two agents with a 5 ranking and three with a 4 ranking. For example:

This is fairly arbitrary, but I would advise against putting all your top choices in the first round. That way, if you don’t get the responses you want initially, you can revise your submission documents and still have good-fit agents on the list.

What Happened to Using QueryTracker?

I thought that was a submission tracker, so why am I using an old-school spreadsheet?

It is. And it’s a great one. But the spreadsheet gives me a lot more space to write down individual preferences, including themes, story types, etc. I can search this later, if I want, or see at a glance what should be included in my submission package. I can also see who uses QueryManager and prioritize those, since they are more likely to respond to queries. Most importantly, I can separate my queries into batches to keep myself organized and on task.

At this point, I do go back into QueryTracker and select agents for my “To Query” list. I also mark “Do Not Query” for those I’ve researched who are a poor fit.

The Submission Package

Great. I’ve set up my list and separated the agents into a few rounds. But everyone seems to want different things!

They do…and they don’t. There are a few basic documents that most agents will want: a Query Letter, a Synopsis, and the first few pages of your book.

In the next post, “Query Letters,” I’ll go over what this is and how to write one that will catch an agent’s eye.

How to Publish Your Novel: Finding a Literary Agent

2 Comments

This article was updated 2/2/2023

Years ago, when I first thought I might become a published author someday, I started researching how to achieve my goals. What I found was completely overwhelming. I needed an agent, but there were thousands of them. Each of them wanted different documents I had never heard of. Query? Synopsis? What?

In this series, I’m going to share what I found and break down how to publish your novel. I’ll cover a the difference between the types of publishing currently available, writing a query letter, writing a synopsis, and finding the ideal agent to query. The process can seem overwhelming, but I hope to offer some clarity and simplicity so you can approach publishing with confidence.

Welcome to Part 2: Finding an Agent.
If you missed Part 1, catch up by reading Self-Publishing vs. Traditional Publishing.
Or, skip ahead:
Finding the Best Literary Agents
How to Write a Query Letter

Literary Agents:
The Basics

So you’ve decided to publish your novel and have settled on the traditional publishing method as the best option.

Step One is to find a literary agent to represent you.

What is a literary agent anyway?

The shortest answer is that literary agents sell manuscripts to publishing houses. Most publishers don’t accept manuscripts from authors directly; they need to come through a middle man (middle person?)–the literary agent in this case. When you find an agent who likes your work, they will submit to publishers on your behalf, negotiate contracts, and will be your advocate in the publishing world. They love your book and want others to read it.

Literary Agents:
Where Do I Find One?!

I get what an agent is–now how on earth do I find one?!

Gone are the days of purchasing enormous, phonebook-like tomes listing every literary agent’s contact information. Thank goodness we have the internet.

The best resource, in my opinion, is QueryTracker. QueryTracker is an online database of agents that also has searching and tracking functions. I signed up for a free account, which allows me to add agents to my “To Query” list, see their response times, see submitter comments, and more. I can select a genre, e.g. “fantasy,” from the sidebar and see all the agents who represent fantasy (355 as of today’s writing).

Other resources include Poets and Writers, Writer’s Digest, or genre-specific websites that may list agents seeking manuscripts.

Organization Amid Chaos

So, you’ve done some research and found several lists of agents who likely represent your genre. But there are dozens and dozens of them! What are you supposed to do with all this information?

Don’t get overwhelmed. (Okay, allow yourself a moment to get overwhelmed, then pull yourself together!) Writing is hard work, and so is getting your manuscript published.

Compiling an ideal list of agents is going to take some time and focus. In next week’s post, “Organizing Submissions to Literary Agents” I’ll go over my method for sorting through all the information to find the best literary agent for your work. Done this way, it doesn’t seem so daunting after all.

How to Publish Your Novel: Self-Publishing vs. Traditional Publishing

2 Comments

Years ago, when I first thought I might become a published author someday, I started researching how to achieve my goals. What I found was completely overwhelming. I needed an agent, but there were thousands of them. Each of them wanted different documents I had never heard of. Query? Synopsis? What?

In this series, I’m going to share what I found and break down how to publish your novel. I’ll cover a the difference between the types of publishing currently available, writing a query letter, writing a synopsis, and finding the ideal agent to query. The process can seem overwhelming, but I hope to offer some clarity and simplicity so you can approach publishing with confidence.

Self Publishing vs.
Traditional Publishing

There are currently two publishing methods:

  1. Self-publishing (a/k/a digital publishing / indie publishing / vanity publishing)
  2. Traditional publishing

What’s the difference?

Anyone can self-publish a novel. All you need is a completed manuscript (like it’s that easy!) and a modest amount of money to get started. Self publishing involves formatting your manuscript, designing a cover, and using a service (like Amazon’s Kindle Direct Publishing) to produce your book in electronic format, paper format, or both. That’s the easy part. Next, you have to market your book to convince prospective buyers it’s worth a read.

If you want your book to appear in major bookstores, like Barnes and Noble, traditional publishing is the route for you. This method requires you to have a literary agent. Agents are not publishers, and most publishers won’t accept novels from authors without agents. (This rule of thumb may not apply to non-fiction books, but we’re only going to focus on fiction in this series.) Therefore, you’ll need to find an agent by sending a “query.” The best agent is one who loves your book as much as you do. They will be your champion and will do their best to sell your book to a publishing house. Agents do not get paid until you do; they typically charge a commission of 15% for domestic sales.

Let’s look at some pros and cons for the self-publishing and traditional publishing methods.

Self-Publishing (Digital)

Pros

  • Anyone can do it
  • Less hassle of finding an agent
  • More control

Cons

  • Costs time and money
  • No advance from publisher
  • You pay all expenses (copyediting, design of cover, marketing, etc.)
  • You do your own marketing
  • No paper copies of your book are produced (unless you pay for this option)

Traditional Publishing

Pros

  • Costs nothing but time
  • Advance paid by publisher
  • Publisher pays expenses (editing, design, marketing, printing, etc.)
  • National distribution
  • Publisher markets your book (with your help)

Cons

  • It can be difficult to get an agent
  • No guarantee of publication
  • Slow process (18 months or more)
  • Less control over process
  • Agent takes a cut

With both of these routes, there are pitfalls. Beware agents charging a “reading fee” or having you pay for editorial services. No agent will ask for any money from you up front. If they do, run! The same goes for self publishing services. You may need/want to pay up front for certain services (book cover design, for one), but do your research on individual companies. There are predatory services out there that take advantage of unwary authors. Reedsy has a great post about how to spot scams. Always do your due diligence.

Personally, I prefer the traditional publishing route. I would rather have someone more knowledgeable do the design, editing, publishing, and (some) marketing of my book so I can focus on writing the next one.

Let’s say you’ve decided the traditional publishing route is right for you. What’s next?

Finding an agent is first on the list and we’ll cover that in next week’s post, “Finding a Literary Agent.”

Or, if you want to skip ahead, see the other posts in this series:
Organizing Submissions to Literary Agents

Critique Partner vs. Beta Reader: What’s the difference?

Critique partners and beta readers are not the same thing. When writing a novel, you will need both.

Critique partners are writers. Often, two writers will share manuscripts for constructive criticism. Your critique partner(s) will tell you your story’s strengths and weaknesses and help you work through fixing plot holes, flat/shallow characters, and other structural issues.

Beta readers are, you guessed it, readers. They will give you an idea of how real readers will react to your story and may give general feedback of what they liked and didn’t like. Beta readers should be familiar with your genre and be willing to be honest (which is why family isn’t always the best choice).

Finding critique partners and beta readers can be daunting. If you’re not part of a local writing community already, try to find one. Coming up empty? Start your own group! There are also numerous resources online for pairing critique partners and beta readers. Allow yourself a little time to research and choose one that works for you.

With a reliable, supportive group of critique partners and beta readers and a willingness to take criticism, your story will become the best version of itself. As you share your work, remember that not everyone will love your story. That’s okay. Accept some comments and dismiss others. Allow your work to grow while staying true to your vision.

Happy writing!