In many ways, my latest work-in-progress, Carillon’s Corpus, has been one of the most difficult books I’ve ever written. So much happened while I was writing it—both in my private life and in the outer world. It has felt like I’ve been swinging from one catastrophe to the next.
There have been many days I didn’t feel like writing. Some days, I gave myself a break and either took the day off or gave myself a small vacation from writing. Others, I wrote anyway. I have a habit of writing every day, even if it’s just a thousand words. A thousand words builds up over time, and it will often lead to two or three thousand.
The sad truth is, words don’t always flow, even for “experienced” writers that have finished multiple novels. Sometimes the muse doesn’t sing to you. Sometimes she turns her back or leaves the room entirely.
You don’t always need her. Write anyway. It’s easier to get something down rather than hide from your book. You can edit and revise a heap of jumbled words. If you write nothing, all you have at the end of the day is…nothing.
I’m unhappy with this manuscript. I know the places where I felt like I was working in a freezing garret all alone. Still, I have clay now. I can mold it into something I like. I can crush it between my hands and let it ooze out my fingers.
The best advice I can give any aspiring writer is: learn to love revising and editing. They are your best friends. Unlike that slinky, fickle muse, they are steadfast companions ready to help you as much as you want.
Sometimes, you have to take a break. There’s no shame in that. If you can, however, write even if it hurts. Write when the world is tumbling into chaos. Write when your heart is breaking. Write when your thoughts are dull, dusty things that don’t want to coalesce into anything sensible. Know that in the end, editing and revising will be there to help you make sense of it all.
Writers will tell you there are three types of writers:
Pantsers, those who write extemporaneously (by the seat of their pants.)
Planners, those who write using outlines and by planning ahead.
Plantsers, those who utilize a combination of the two.
I’m a plantser…but not by choice.
Although a lot of my character development happens when the characters start talking to each other, I begin by planning them, and I like creating a skeletal outline for the plot that I fill in as I go along. I also answer a set of questions before writing each scene.
But with every book, all of that planning falls apart at some point.
Maybe instead of a skeleton, I’m creating outline spider webs. It’s frustrating and frightening. Sometimes, it’s a characters fault. (Thomas Carillon, don’t look away. You know who I’m talking about.)
Often, however, it’s simply because I forgot to look at my notes and got carried away. It’s like swimming in the ocean, looking back, and realizing you’re a lot further out than you intended. You’re out with the sharks now. Land looks faraway and your blanket and cooler are barely visible.
I’m treading those waters now. My throat is clenched with fear, and I’m worried about that thing that just bumped against my leg.
I hate feeling like I don’t know what I’m doing. Out of control. The bones all nothing but wispy fragments. I know I’ll work through it and find my way back to the story I had planned—to those scenes I was waiting eagerly to write and the Happily Ever After that has kept me going. By the time I finally get to that HEA and do a few revisions, I should have something a little different than I had planned, but better.
Sometimes being a writer means clutching spiderwebs in your hands and swimming with the sharks.
I started 2022 working on the sequel to Carillon’s Curse and am enjoying being with Thomas and Hadrian again. I’ll get back to Jericho and Kincaid at a later date. Are you working on a book this year? If so, do you know what genre it is? Are you sure?
Something interesting that has come to my attention recently, is that sometimes writers don’t know the genre of the book they’re writing. That definitely happened to me with Carillon’s Curse. While I knew it was MM Romance, and a mystery with gothic and Western overtones, it’s also quite dark. It’s um…one might say…dark romance.
Bam! Did you know that’s actually a genre? I didn’t. I really think my Love Songs for Lost Worlds series might also be dark romance. In fact, that feels like my preferred genre these days. MM Paranormal Dark Romance.
I guess this is why reviewers keep saying my romances are dark. Makes sense. I didn’t know this, however, and was simply writing what I wanted to read. I love romance, but a lot of it seems sort of fluffy to me. Fluffy can be fun. It can be comforting. It can also be like cotton candy pink sequin booty shorts, however, and I’ve always been a little emo/goth creature.
Most of the music I love—like not just to bob around or clean the house to—but seriously want played while I’m dying kind of love—is dark. I love dark paintings, dark photography, dark series, dark movies, dark true crime, dark chocolate. I like things that seem realistic but are also beautiful. I love art films. I love grit. I love blood and gore if there’s a deep meaning behind it.
But I never knew there was such a thing as dark romance. I’m going to have to read some now.
Everyone makes a big deal of “writing to genre.” This always made me feel lost and hopeless. I don’t want to write traditional romance. There are already scads of people out there writing it much better than I ever could—mainly because it just isn’t my thing.
It turns out, I HAVE been writing to genre! I just haven’t been advertising to it. I didn’t name it or look for the right readers because I didn’t even know it existed.
So, if you’re feeling down because you aren’t writing to genre, look around. Maybe you just haven’t discovered your genre yet!
I hate negative reviews. I suppose no writer likes them. My latest book, Carillon’s Curse, doesn’t have many (so far) but the one it has on GoodReads has proven more of a blessing than a curse. Not only does it do a great job at warning people like this reader to avoid my book, something in it has ignited a spark of creativity for the next book in the series. (Yeah! I’m making it a series!)
The reviewer accuses Hadrian of being bipolar. At first, this was deeply hurtful. One, I have bipolar disorder. It sucks the way people throw this word around, usually with little understanding about what bipolar disorder actually is. Two, I wrote Hadrian as having PTSD. I didn’t spell it out because I couldn’t find exactly what it was called back in 1888, but I thought I wrote the symptoms well enough that people could recognize it.
I have PTSD, and forget that most people don’t know the things I know. Somehow, I thought PTSD symptoms had become common knowledge. I didn’t even intend it as an Easter egg. (I had a similar experience with Frank’s ADHD in the Love Songs for Lost Worlds series. No one ever mentions it, so I’m not sure if readers see it.)
Before I read this unflattering review, I had already decided I was writing a series and was stumbling around in the dark trying to figure out what Thomas’s and Hadrian’s wants and misbeliefs (or Lies, as K.M. Weiland calls them) would be. And then came this wonderful, horrible review! After I got over being butt hurt (that took a day or so), I realized that the reviewer had unwittingly given me a gift of writer’s gold.
I’m going to full on embrace Hadrian’s PTSD, name it, have the characters talk about it, and involve some of the (probably horrendous) treatments of the day. There will still be a gruesome murder—or several—to solve, but Hadrian’s internal struggle is going to be with his PTSD and how it affects his and Thomas’s relationship.
Thomas, my beloved, oft troublesome Thomas, has clubfoot. His disability is physical and visible. Hadrian’s disability, being mental, is invisible—and possibly even less understood during the time period in which they live. The whole thing really pleases me, and my fingers can’t type my thoughts fast enough. I’m no longer struggling with the gears of this plot, I’m heating the pavement.
So, if you get a negative review of your work, look for anything valuable in it. Not necessarily, as some people say, constructive criticism. I’ve rarely found anything constructive in a negative review. Those people aren’t your beta readers, they’re often people simply bent on being nasty. But see if there’s anything that sparks an idea. When something is painful, the best, most productive thing a writer—or any artist—can do is use that pain to fuel your next creative endeavor.
If you’re a writer, you’ve probably run into this hideous monster—the bland scene. I woke up to that sucker this morning. You know the one I mean, right? That ho-hum scene you don’t feel like writing? The one that needs to be there because it conveys some information or does something that moves the protagonist forward but is just…blah. Have you been there? I struggle with at least one of those in every book.
The hard truth is, if you’re bored writing a scene, chances are high your readers will be bored reading it. There’s an easy remedy for this. Before I start writing a scene, especially one I’m anticipating will be boring, I ask myself two questions:
1. What does the protagonist (or POV character) want in this scene?
2. What is the problem? Or what is the obstacle standing in the way of the character getting what he wants?
These two questions help me develop the conflict in the scene (if I don’t already know it.) Friction is the fuel of writing. Without it, everything is easy and perfect, and there’s really no story.
Who cares if Mr. Perfect with his perfect life goes to his favorite cafe and gets a latte with a perfect foam panda in it? On Facebook or Instagram that might be fine. In a book, it’s horribly boring. What if Mr. Painfully Shy goes to the cafe he kind of hates because that’s where his ex dumped him, but he’s there because he has a crush on the cute but arrogant barista who works there? Or maybe he’s being chased by the mob and needs a place to hide, but the barista is giving him a hard time for not buying something before locking himself in the bathroom? Maybe the barista turns into a flame-breathing dragon and starts cooking everyone in the cafe?
Okay, so those are really stupid examples, but you get the idea, right? By declaring to myself what the character wants and identifying what is standing in his way in that particular scene, the scene becomes more fun to write.
In the scene I’m writing today, my protagonist (yes, that would be Thomas if you’ve been reading this blog) must help his lover question the victim of a crime. The protagonist’s scene objective is to get information on the criminal, so he and his lover can bring him to justice. That’s pretty straightforward. And boring. Hello, ho-hum scene. Why? Because I haven’t identified an obstacle. If the victim is cooperative, and everything goes smoothly, what’s the fun in that? Why should I expect a reader to care?
So, the problem is the victim is severely intellectually challenged. He’s traumatized and getting him to talk is difficult. To make matters worse, my protagonist’s lover is impatient and brusque. His bad cop style isn’t useful in this situation. Now, my protagonist has two problems: getting information from an especially vulnerable, traumatized victim while protecting him from his hot headed lover—and getting that lover to cool down. (Really, I guess, that’s three problems.) Another monkey wrench I threw in here is that Thomas, being physically disabled, identifies with the disabled victim more than the average person might. This makes his internal reaction to his lover’s insensitivity especially painful.
Not only is this scene much more interesting to write, it will be, hopefully, more interesting to read. Is Thomas up to the task? Of course he is! But making it difficult for him is what makes writing the scene and reading it interesting. Making Thomas solve problems and giving him difficult things to do makes him a better person. He becomes more real, both to me and, hopefully, to readers.
There’s a scene where the protagonist, Frank, tries to get back with his ex, Jovan and fails. Earlier in the day, Jovan offered to stop by the restaurant where Frank works to help him with a problem. (Frank understood the demon they summoned in class and is deeply confused.) This could be a simple scene where Frank asks Jovan out on a date, and Jovan declines. After all, getting back with Jovan is Frank’s scenic goal, and failing is what I need to happen. But that’s a big snorefest.
So, Jovan doesn’t show up at the restaurant alone. He’s there with his new girlfriend. And Frank is busier than normal because he offered to take a large, hopping section of the restaurant for his sick friend. Frank has ADHD (something I don’t reveal in the series, but is sort of an Easter egg) and doesn’t always deal well with high stress situations. Basically, I’ve set him up for failure and taken away his ability to meet his scenic goal. He accosts Jovan in the men’s room and ends up punching a wall and hurting his hand. Jovan takes care of him, but doesn’t simply tell him he doesn’t love him—he says he feels sorry for him. Ouch.
This plunges Frank into the depths where I need him to be before something happens that changes his life forever. A setup scene that could have been pretty mundane ended up being an intense dramatic scene that I enjoyed writing.
With a little spice, bland scenes can become some of your favorites. So, spice it up and have fun!
This really should go without saying, but if you want to be a writer, don’t be a jerk—especially to people in the industry who are trying to help you.
I follow a popular writing blog by an author of some amazing fantasy works as well as a series of helpful writing books. For years, she has been helping writers and authors, trying to lift people up. When people comment on her posts, she answers them—even when the answer to the question should be obvious. She will even answer the old posts if they ask a direct question. She’s just a really helpful, nice person.
Some guy has been commenting on her latest post acting like he knows everything. I can almost guarantee you this dweeb has never published anything—either traditionally or independently. I’ve taken creative writing classes and been involved in writing groups and attended writing conferences for about thirty years. I’ve seen this type of writer before way too many times. The dilettante. The guy who doesn’t know what he doesn’t know—a walking illustration of the Dunning-Kruger effect. The bully who thinks he can elevate himself by dragging others down.
Don’t. Be. That. Guy.
Part of being a writer, part of being an artist, part of being a decent human creature, is humility. Yes, we often feel like gods when we’re constructing that perfect outline or are writing in that heady flow where words and images flash in our minds faster than our fingers can type. But it’s also important to remember that we are, at the end of the day, mere mortals—fallible beings reaching for stars we might never catch. If we’re smart, we’re always learning. Eternal students forever striving to perfect our craft.
You don’t know everything. Neither do I. That’s the beauty of the struggle. That’s part of the excitement. Part of the joy that should wake you up every morning and encourage you to write your heart out.
Don’t hurt people who want to help you. Don’t thumb your nose at mentors and teachers. Every one of them will tell you they don’t have all of the answers, either, but they may well have some that you don’t. Don’t write angry letters to editors and agents who reject your work. It only makes you look bad.
Be gracious. Be humble. Be kind. The world has enough prima donnas, enough jerks, enough Dunning-Kruger morons. What the world needs are your stories—maybe now more than ever. It doesn’t need egotistical posturing.
So don’t be a jerk, be a writer! Soak up every bit of knowledge you can! And write, write, write!
Today, I saw a post in a writing group in which someone was stuck on whether his MC (main character) would move onto a new relationship following the disappearance and possible death of her lover. Obviously, one should consider the depth of the relationship in question, but why not look to the character to solve this problem? If you have a well-developed character who seems like a real person to you, problems like this aren’t problems at all.
For instance, take veterinarian Dr. Garland Sands from my latest M/M historical romance, A Little Sin. After his lover commits suicide, he is able to move on and find love again. However, if his lover had vanished, I don’t believe he would ever stop looking for him. He’s an idealist and an optimist. He’s a hopeful character. Not only would he be unable to give up hope of finding his lover again, he would probably go to the ends of the Earth searching for him.
A very different character in my epic fantasy novel, Under the Shadow, Mylinka, is separated from her childhood love. Although he has only disappeared, evidence suggests he was killed in a purging of mages. Mylinka is a pessimist. She’s a war orphan with some nightmarish experiences. It’s easy for her to believe the worst. She’s also a highly adaptable pragmatist, so she moves on to other relationships.
So you can see how two very different characters will react to the same circumstances in extremely different ways. If you’re stuck on whether or not a character would do something, just ask the character. If your character won’t talk, maybe you need to develop him more.
How? Fill out some character worksheets. There are tons out there! My favorite character questionnaire is in Will Dunne’s The Dramatic Writer’s Companion. It asks questions like ‘what is your character’s greatest achievement so far? What is his greatest failure?’ Rather than spending a lot of time on your character’s hairstyle, it delves deep into the character’s interior life. It’s my favorite writing book despite the fact that I don’t write screenplays. Another fun way to learn more about your characters is to take online personality tests as if you were them.
Once you’re really in touch with your characters, you won’t need to ask how they’ll act. You’ll just know. And if you’re still not sure, just ask them. I often have trouble getting mine to shut up. I’m trying to write a paranormal romance, and Garland from A Little Sin and Ward from Zen Alpha keep bugging me. They want me to write more about them. That’s the only drawback to creating characters that become real people—they don’t always do what you want.
Probably my favorite part of writing is developing characters. It’s like meeting new friends. There’s an indescribable, magical element to it that is thrilling and unique. I enjoy writing about characters that are very different from me. I like the challenge and, well, it’s exciting! But when you’re working in deep POV (also called third person close or third person limited), it can be tough getting inside the head of a character who’s so different. Here’s how I do it:
I start by leaving myself a backdoor. Computer programmers will sometimes leave a “backdoor” in their code, a way to sneak in if they need to. I do this with my characters. I build a character with various physical and emotional attributes, a unique personality (Myers-Briggs can be helpful with this!), and a suitable back story. I try to make these true to the character and let him develop in a way that is different from me.
But then, I add a backdoor, sometimes two or three, but at least one. I add something that the character and I have in common. So, Bradley from my m/m contemporary romance, Zen Alpha, is a tall, beautiful, twenty-five year old redheaded openly gay man who lives in a suburb of Dallas, is a tech support specialist, has expensive tastes that are beyond his means, and is intent on having an alpha male boyfriend. Bradley Evans and I have nothing in common. Like, squat.
So, I gave him a narcissistic mother. Being the child of a narcissistic parent changes a person in fundamental ways. I know, because my own mother is a narcissist. I used this fact to shape and highlight certain aspects of his personality. It even explains why he is so fascinated with his emotionally abusive boyfriend, Jackson, and why he holds himself at a distance from his sexy neighbor, kind, authentic Ward.
His mother was my backdoor into his character. In essence, I gave him a piece of myself. It’s sort of like molding a clay golem, then bringing it to life with a drop of your blood. Sometimes giving a character a piece of yourself hurts, because you have to confront something of yourself in the manuscript. Sometimes that’s difficult.
However, once you crawl inside your character, you’re in! The rest kind of falls into place. You end up with an interesting, round character that is fun to write about. So, bring your character to life and enjoy slipping into deep POV.
If you’re interested in reading Zen Alpha, you can read it for free with Kindle Unlimited, or buy it on Amazon. If you would like to review it, contact me at: email@example.com for a reviewer copy.
Since I published His Dungeon Discovery a couple of months ago, I’ve been trying to write an urban fantasy m/m romance. Initially, I was very excited. I had been thinking about it for a while and was happy to dive into it.
But then it stopped being fun.
I started worrying about what genre it actually was, because it was also sort of dystopian. I got caught up in one of the subplots–the main character’s mother has early onset dementia. My own mother is schizophrenic, so dealing with an impaired parent is a big deal for me. Perhaps for this reason, I wanted to spend more time with that aspect of the story. The romance atrophied as I wrote dialogues between my MC and his mom. The story spun out of control, and I grew increasingly depressed by it. I would hide from it for days at a time.
So I set it aside. I started writing a contemporary m/m romance with a couple of fun characters. It’s a simple, straightforward romance with a hint of humor. I’m ten chapters in and I’m glad I made the switch. Since I started working on the new story, I’ve gone back to writing every day. I have scenes going in my head at all times; the characters are talking to me. I’m happy again.
For whatever reason, the last project just wasn’t working for me. I want to go back to it someday, but I need to be in a better frame of mind to grapple with it. So, if you’re a writer who’s stuck on a certain piece, try taking a break from it and working on something else. You might find, not only solace, but a great story.
Recently, a professional editor told me I didn’t need her editing services. I was extremely flattered! Editing can be hard work, particularly when you’re editing your own material. I’m sharing my method in case it might help other self-published writers on tight budgets.
Edit while you work. Before I start writing a scene (I typically write in scenes), I scan the previous day’s efforts for typos, unintentional repeated words, etc. This serves the dual purpose of getting me into the world and voices.
Do a rough edit. After I finish the rough draft, I do a rough edit. I search for typos, adverbs, missing or misplaced commas, and inconsistencies. I look for things like hair and eye color that changes for no reason, voice changes, and weak verbs. Because I’m an indie author, I tend to stick to old-fasioned usage and grammar rules. Lay people don’t trust new authors and won’t realize you’re trying something new. They’ll probably just think you don’t know what you’re doing. Choose a style manual and try to be consistent.
Have beta readers. Good beta readers are invaluable. Betas will not only help you by asking questions about character motives and ferreting out plot holes, they will also notice typos and missing words. I submit my manuscript to betas after the rough edit.
Enter beta edits. This is often where I do some rewriting. Theoretically, you shouldn’t have to do anything too extensive. Your story should have been ready to go when you sent it to your betas. If you have to do significant rewriting, consider running the story by at least one more beta before continuing.
Do a final read through. I can’t stress the importance of this step enough. It’s so easy to mess things up by cutting and pasting, adding new phrases, etc. Use the final read through to correct the small errors still in the manuscript.
Stop picking at it. If you’ve done your rewrites, edits, had your manuscript read by betas, polished your piece, and gave it a final read–you’re done. Publish it, send it away, give it as a present to your fifth grade Engish teacher–whatever. Just don’t mess with it any more. Move onto your next project. Call your book finished and let it go.
That’s it! Oh, and have fun. Use different fonts and colors to mix things up and change the way your eyes see the text. Currently, I’m editing the sequel to my M/M romance, Because Faery Godmonster, and did the rough edit on a blue background with white New Times Roman text. (I wrote it on a white background in Arial.) I’ll probably do the final read on my tablet. The different format seems to expose typos.