Getting my Camp NaNoWriMo on.

Tags

cliff-hanger, Harmon's Plot Embryo, must read, NaNo Prep, NaNoWriMo, Novel drafting, Planning, plot points, story outlining

I’m doing it again. Trying to write a complete project in a month. But this go around, my word-count goal is so much smaller than my last four attempts at a measly 20k.

Yes, I just put measly before 20k, but on average I aim for 40-50k in a NaNoWriMo session, and I’ve only hit that goal twice.

Finally, I’m getting to work with my LOVING RED characters again. This one will be a prequel, outlining both Kaia’s background with Dev—the bear and ex—and the circus incident with the Scarlet Queen, whose just appeared in Ria’s world. I am so excited to continue this story thread. If you don’t know anything about the LOVING RED gang, their storyline jumpstarted with Facebook roleplaying…which is why many of my characters have their own profile pages.

Anyways, I don’t so much want to talk about their story (but I’ve done that here, here,  and here if you want to know more). Instead, I wanted to set y’all up for the NaNoWriMo advice and exercises I’m going to be throwing at you over the next few months.

Now is the time for planning…even though I may have outlined this story at the end of last year, it’s nice to review and remind myself what the hell I’ll be doing.

Originally, I used Harmon’s Plot Embryo to develop my ideas and create more symmetry in my stories. I tend to lean toward the cliff-hanger and don’t want to be a one-trick pony. My notes on that below, and an excellent YouTube post I took these notes from.

From this process, I teased out the major plot points and decided on an alternating point of view. Like in LOVING RED, I will use first person for Dev—as he is the character I created and played in roleplaying, and third person for Kaia, who was played by a close friend.

That let me create my current outline, which I’ll sneak peek right here.

For the rest of this month, I will be reading this over, working through details as best as I can, and will probably start the opening scene(s) before July hits. Yes, I know that’s cheating, but I’m doing this to get my first draft down, not to win anything. Besides, I play by my own rules!

And that’s it for now. I’m set up, finishing another story, hopefully giving myself a week break in between, and jumping in to this novelette.

Are you using the summer to complete some writing goals? Do you participate in NaNoWriMo? Let me know what you’re working on, what your goals are, how you plan to meet them, and if you want to hear about keeping on track, catching up, and adapting to real life as you craft.

Advertisements

Did You Know…An Ethology Lesson on Vampires.

Tags

Alchemy, Crique Du Freak, designer drink, Dogma, Dracula, House of Night, The Chronicles of Vladimir Tod, The Morganville Vampires, The Silver Kiss, vampires, War in Heaven

Vampires. I love talking about vampires. I have a ton of Did You Know…postsabout them, but if I’m honest, I’m not quite sure how the vampires in Lily’s world behave because she’s only had passing interactions with them.

Here’s what she knows so far:

Vampires and shapeshifters were strangely like their mythologies, but like not.

And they’re goth. Yup, that’s all they’ve given me so far.

In the spirit of the process—yes, I really just said that, hold back your cringing—I thought I’d work it out here.

My vampires so far have been fast, strong, and more animal than human. They’re derived from primordial gods with a lot of Roman and Greek influence. The gods in the Lily Graves series aren’t quite the same, shifting and satirizing the religion I grew up with—Catholicism.

Instead, I was thinking of a more traditional Dracula vampire—pale, romantic, dangerous type—mixed with typical teenager emo/goth. The inspiration comes from a few YA series, like The Morganville Vampires, The Chronicles of Vladimir Tod, Cirque Du Freak, House of Night, and standalone, The Silver Kiss.

They all remind me of the distinct style that I’m flirting with, a shift that was both fun and terrifying for me as a writer. I like to dabble in the darkness, in the battle between sin and instincts, and of course, conformity. But I also like to kill off characters and smother them in sex…I couldn’t do that all willy-nilly as I’m typically inclined to because, yeah, young adult.

In any case, these guys are all way cooler than I was at that age. Smarter, too.

Wrap all of that up in dyed-black hair, white powder, thick eyeliner (for me it was sparkles), and dark lipstick. Let them have ridiculously weird inside jokes that feature llamas and bunnies and have banal taste in music.

Aim I painting the right picture here? Because this may hit a little too close to home. I once got accused of sacrificing babies and worshipping Marilyn Manson, but I loved the Backstreet Boys—and every single other boy band if I’m being really honest. Goth teeny bopper. Yup.

 

Okay, quirky picture drawn. Let’s move on.

I do know that I want them to have an aversion to sunlight. Does this mean tunnels or magic to get around town, and especially to school? I mean, they attend regular hours, so it must not make them that sleepy, right?

They obviously drink blood, but is it just human? Can they drink demon or angel or dragon, etc? Where do they get it? Blood-mobiles? Snatching up citizens? A designer drink? Volunteers? Man, the options are limitless. Maybe they’ve used Alchemy, which will be a growing element of the series as we dig deeper into Lily and Evan’s friendship.

It’s a start.

And religious symbols. Again, the possibilities… I love the Anita Blake series for the faith behind the object making it work, or the idea of the object needing blessed to work, like in Dogma. The one vampire I’ve had contact with painted a picture of Lucifer, so in a sense, he shouldn’t have an aversion to all religion.

This also relies on the heavy leans and leeways I’ve taken with the Biblical stories and mythologies—rather than the organized religion itself. I say this because I grew up with a lot of stories that other denominations went without, and some certainly were not anywhere in the books. I was raised as a Roman Catholic, in case anyone’s curious.

Let’s just say, I have a lot to play with: reasons for the differences between the god in the Old Testament and the one in the New Testament; why Jesus needed to come to Earth and die for our sins; and the real story behind the war in Heaven and what became of Lucifer.

I have a lot of nuances yet to figure out to say the least, but what I’ve discovered so far has me amped for book two. I can’t wait to plot it out at the end of the year.

 

 

Stay tuned for more mini-ethology lessons from Lily Graves’s world and sign up for an ARC of the first in her series, GIRL WITH THE GLOWING HAIR.

 

If you’re interested in knowing more about different kinds of vampires, check out my top five Did You Know…posts:

1. Did You Know…About the Scandinavian Vampire?
2. Did You Know…About the Chinese/Korean Vampire?
3. Did You Know…About the Mexican Vampire?
4. Did You Know…About the Aboriginal Vampire?
5. Did You Know…About the Ancient Roman Vampire?

 

Full Plate: A New Novel and Three Shorts.

Tags

anthology, brainstorming, call for submissions, dystopia, inspiration, martyrs, satire, The Writing Process, writer's workshop, YA

I’ve been talking about a lot of upcoming projects lately, THE SHOEMAKER’S APPRENTICE, coming this summer; GIRL WITH THE GLOWING HAIR, coming this winter; and my on-going writer’s workshop, officially launching in June via Patreon.

Well, I also have two anthologies coming this year, which means two more of my own stories, too, and neither of these are canon. The first will be in TRANSCENDENT, our Dreams, Nightmares, Visions, and Hallucinations anthology, whose cover is AMAZING! Thank you, Dean. The second is IN THE AIR, which is our new elemental anthology to go with ON FIRE and UNDERWATER. Coming next year, an earth-related call.

So, I wanted to set up my thoughts as I brainstorm my untitled TRANSCENDENT story.

Currently, I’ve dubbed it Sin-Eaters because that’s the base of my concept. I got this idea from one of my students, who wrote about being an Eater, or one who will do anything to succeed. They live for it.

My twisted brain went to satire and dystopia, two of my favorite niches. Think a more broken version of our world, where a select few become martyrs around puberty, typically eleven. These youth wander through cities, homeless but not hungry. They’re well respected and feared in the community. Their basic needs taken care of by the people they serve. All they have to do is eat their sins, literally consuming them and taking the karmic hit points rather than the sinner. This is why most of them die before they’re thirty.

As I plan to make this a serial, this first story will follow Jace as he meets his first female Eater, who’s running from the authorities. Soon after, he moves to the capitol and is dropped into a sick and twisted world where his life expectancy halves.

I’m unsure of the ending struggles, so I won’t pretend to know the specifics of where this is going, but I do know it will be dark. I don’t tend to write happy endings.

So, yeah. I hope you stay tuned as I write and edit for TRANSCENDENT, for the beautiful cover, and for the peeks into my new and repeat authors as they weave magical stories for us to enjoy.

What are you currently working on? Let me know in the comments below. I’d love to hear about them.

POV: How to Fix Head Hopping

Tags

close third, editing advice, editing tips, head hopping, omniscient, POV shift, Sherrily Kenyon, writing advice, writing technique, writing tips

I had this post requested a while ago, and I couldn’t figure out how to put it into words at first. But as I’ve been writing lessons for a mentoring program I’m working on, I finally figured it out.

So here it goes.

First, head hopping is when we dip into more than one character’s POV in a single scene. This isn’t omniscient POV, but rather a switch between close-third perspectives.

Most editors advise against head-hopping because when we switch mid-scene, we’re not often warned that the change has occurred, and the reader is more likely to grow confused. My argument is that writers should do their best to structure of everything clearly so that the work happens in creating imagery out of language, and the reader can delve into the world instead of staying on the surface to decipher what’s happening and where.

Now, it’s been said that head hopping is more acceptable in romance and erotica because the relationship is more important than the characters individually. It helps increase tension to have access to both of their thoughts.

Do I write my romance/erotic fiction this way? No. I’m not convinced. I have seen romance writers do this successfully, like Sherrilyn Kenyon does in her Dark Hunter series, but overall, I’m not a fan of it. It confuses me too often, and I have a harder time connecting with a particular character.

So, with that out of the way, let’s talk about how we identify head hopping.

The best way to identify is to categorize, or color code, a first draft. It’s easiest to do this to a first draft so that you don’t waste time making the parts you cut and have to redraft pretty.

You can color code on a printed copy or in your word processer. Simply section highlight the parts of the story that dip into a character’s POV. This will be their internal thoughts/dialogue, the analysis of the scene or characters, and their opinions of/reactions to what’s happening in the story.

Here’s an example:

Jennifer rushed into the room, adrenaline numbing her legs and burning her lungs. The giant’s destructive footsteps didn’t shake this far into the farmland, yet.

Her hair fell from her ponytail as she swung the door closed and grabbed for everything she thought might be valuable on the move.

Frank didn’t know yet, that a giant fell from a beanstalk that’d grown overnight on the other side of the city, so he shook his head and poured another cup of coffee. What is she looking for?

Note how we’ve gone from inside of Jennifer—as she’s the only one who knows about the giant—to inside of Frank, who doesn’t understand why she’s rummaging through their stuff. There are several places where small tweaks can keep this in Jennifer’s POV.

Jennifer rushed into the room, adrenaline numbing her legs and burning her lungs. The giant’s destructive footsteps didn’t shake this far into the farmland, yet.

Her hair fell from her ponytail, teasing the corners of her eyes, as she swung the door closed and grabbed for everything that might be valuable on the move.

A giant fell from a beanstalk that’d grown overnight on the other side of the city.

Frank, her husband, shook his head and poured a cup of coffee in the small, attached kitchen. “What are you looking for?”

In this version, no one needs to tell us that Frank doesn’t know about the giant, we can see that he doesn’t by his external reaction to her. The rest is a reflection of Jennifer’s reaction to her situation: she saw the giant; she’s freaked out; she’s searching; she places who Frank is for us; and she hears him ask the question.

This creates clarity for the reader to experience the situation rather than being told about it, another reason to stay in POV. Readers like to put the pieces together because they’re smart.

Another clue of a POV shift is description. If the character is describing themselves physically, we’ve shifted out of their POV. The camera-effect shifts us into the omniscient perspective. We can’t see ourselves, except in mirrors, and that’s often a cliché technique.

This may be a pesky task the first few times you try it, but seeing a draft in colors rather than chapters helps separate us from the story to see its parts.

Once you have the whole thing color-coded—or the parts you’ve identified as problematic—see what color is most present in the scene/chapter. That’s likely the POV character for that scene and the rest should shift to his or her perspective. Some of it may not make it. If it’s an important detail, find another way to include it—dialogue, a new scene in the other character’s POV, some prop that can provide the information needed.

Sometimes, all you need to do is split a scene in two and allow more than one character to describe what’s going on and fill in the gaps. I often like the tension that comes in a mid-scene cut to the other perspective. It’s a nice trick to use every now and again.

Well, there’s my opinion and advice.

How do you identify and/or fix head hopping? When do you feel like it works or doesn’t work? Got any questions? Let me know in the comments below.

The Woes of Retitling Works-in-Progress

Tags

Buffy, how to title your novel, Lucifer's Daughter, Paranormal high school, Parody, satire, title generator, Twilight, writing advice, YA Paranormal

So, I still don’t have an official title for my new novel—the one I’m almost done writing, the one that is separate from my other series, the one that reeks of parody and satire.

When I started the Lily Graves Series, I was ripe with references to other paranormal high school books, tv shows, movies…Buffy, Twilight, Harry Potter…and mixed them with other fantasy, mythological, and religious references, like Snow White, Supernatural, Adam & Eve, Lucifer, and the War in Heaven.

This book is choking on lore and creatures. I’ve grouped them into thirteen general categories: Angels, Demons, Gods, Chimera, Shifters, Elementals, Fey, Ghosts, Muses, Reapers, Vampires, Witches, and The Law. They all break down further, and that’s part of the fun. Lily Graves is the new REP-agent-in-training, and she’s only fourteen. Product of Lucifer and a top-notch geneticist, she’s tasked herself with learning the intricacies of the new social hierarchy she’s been dumped into.

Cue the snark and teenage angst. Lily is witty and can throw a quip as well as she can kick her soccer ball, but she has no idea how to control the arch angel power eager to escape her. Then pair her with a power-tripping demon mentor, Adam, who’s made sarcasm and punishing students an Olympic sport. Add her two besties: the teenage version of my husband, Evan—a leather-clad, evil genius with a pet dragon and a strange sense of moral and intellectual superiority; and Starr, the glamourous Snow White whose desperate to be taken seriously as a smart young woman rather than a bombshell with breeding.

I have so many other fun characters, like Thorn—*coughs* Spike.

See, we’re all just having fun here.

Now, I should really figure out what to name this thing. I might need some help…

 

The Officially Almost Completed Back Cover Blurb

Lily is the daughter of Lucifer, a mother she’s never met.

When she’s laughed off the soccer field, Lily’s delivered to her FBI uncle and a new, paranormal, high school where she’ll be trained to keep other creatures in line.

Gaining few allies under the thumb of her obsessive mentor, she struggles to prove that something more is going on in their little town than the anyone wants to admit.

If you like the innocence of Twilight, the snark from Buffy, and the wit of the Lunar Chronicles, you’ll be engrossed by Alisha Costanzo’s new dark and satirical YA series.

Read Lucifer’s Daughter and fall into a world worse than hell—welcome back to high school.

 

As you can see at first, I was thinking Lucifer’s Daughter, but other authors have published that book in the time since I announced its name, so I’m brainstorming again…

The Amateur Sleuth

or

The Girl with the Glowing Hair

Want to help me decide? Comment below or vote on my facebook poll.

Guilty of Goal Goldbricking.

Tags

back on track, get shit done, goals, guilt, NaNoWriMo, procrastination, tips, writing, writing goals

Let’s talk about goals.

I made a lot for this month, and I tried for the first half to keep on track, but as usual, I got caught up with life and my family, and now, I’m behind. A thousand-words-a-day behind.

But let me say something about goals and procrastination. The only thing that will keep me from finishing this is me. Getting behind doesn’t mean giving up, and I’m happy, frankly, that I’m getting anything done, as I’d let this story sit dormant for almost a year as other projects took over. I’m okay with the other three sitting and waiting for this one to get done, since it, too, will have to sit and wait to be edited afterwards.

Nanowrimo, for me, is designed to kick my rear back into action so that I can get my own creative work done because the rest of the year will be devoted to editing.

So, as long as I keep going, I’ll get my shit done and meet my goals.

Without the guilt of not getting it done sooner.

Are you participating in Camp Nanowrimo? Link me to your project below.

Not participating but still have massive goals to meet? Tell me about them and your tricks for staying on track.

The Past Life Paradigm

Tags

atlantis, Broken World, Ever After, goddess, past lives, Pride and Prejudice, reincarnation, Sale, thirteen

Hello, lovelies.

I wanted to talk about Ria. Oh, Ria. That poor girl had no chance at a normal life. Between her abnormal birth, sharing a soul with her mother, and being the reincarnation of the Atlantean goddess, Meleia, it’s no wonder Ria’s got a shit storm to work through.

With that in mind, I wanted to give y’all a peek at Ria’s past lives as they are a major part of her story. So here is the quick list:

Meleia—goddess of chaos (8100 BCE)

Isura—Mesopotamia (5512 BCE)

Bianca—Italy (4027 BCE)

Niabi—Japan (1377BCE)

Colista—Greece (184 CE)

Sura—Germany (481 CE)

Benny—Spanish (714 CE)

Valarie—French (933 CE)

Zyanya—China (1212 CE)

Sophia—Ireland (1416 CE)

Layla—Scotland (1632 CE)

Dashay—Jamaica (1799 CE)

Tatiana—America (1969 CE)

It’s a long list. Thirteen past lives in all, which is linked to the chaos from her original form, or maybe because thirteen is an unlucky number. Either way, it’s my favorite. (I’m a serious lover of Friday the thirteenth—the day, not the movies. Although…)

Now, the author honesty. I don’t know much more about these women than I’ve created them in the books. Well, with a few exceptions. Ria’s mother, Tatiana, is forming herself in my fire story, featuring Ria’s father. I know a bit more about Bianca and Colista and Layla than I’ve let y’all in on.

I feel as though Layla is my most interesting of the women—the most independent and vulnerable. Maybe it’s because she reminds me a bit of Cinderella—of Drew Barrymore’s version in Ever After—and of Lizzie from Pride & Prejudice. She takes on her role as the eldest-daughter-turned-mother when her parents died in the Great Plague of Edinburgh along with two of her siblings.

At thirteen, she had to navigate a devastated city to feed her three remaining brothers and sisters. And for the next four years, she struggles to do so every day, until she meets a man who eventually takes care of her…but he vanishes a decade later.

If you haven’t guessed it, and maybe you haven’t because you don’t know Ria’s story, but that man was Gene (whom I like to think of as my Mr. Darcy), and Layla is the spitfire that pops up when the two of them are fighting.

This is because of the fire in Layla from the life she was dealt and her ability to adapt. Ria has a lot of the same characteristics but could learn a lot from Layla still.

Before I turn this into some twisted circle of babbling, let me wrap this up.

Want to know more about these past life connections? Feel free to ask me questions!

And check out the first novel in my series, it’s on sale for 99 cents to celebrate my upcoming installment in the series on May 9^th.

Drop the Deets: My tip for eliminating pesky dialogue tags

Tags

details, dialogue tags, dont just dont, editing, how to, humor, pet peeve, showing not telling, triggered, writers, writing

Hi, I’m Alisha, and I don’t like dialogue tags.

Aware that a great many readers and writers could give two shits about when, where, how often, and which dialogue tags are used, they rile me up.  Plain and simple.

Let me show you why.

First, to clarify, dialogue tags are necessary. They keep us on track when characters have extended conversations. And if said or asked is used to do this, they essentially become invisible. No problem here. Use them to assign a speaker—sparingly.

Now, where I get to be a bit of an editing snob: if your readers can’t tell the difference between most of your characters when they speak, this means other issues need addressed. However, the below suggestions can help with that stage of revision, too.

Next, cut the fluffy, telling dialogue tags. The ones that say how someone speaks rather than earning the true emotion of the speaker.  I’m talking about growled, mumbled, whispered, and hissing, etc. Side note, don’t have characters’ hiss without at least a few s-words. Yes, I’ve seen it, and yes, it’s infuriating. Or, god forbid, the use of adverbs to indicate these things, like he said wistfully or she said teasingly. Don’t. Just don’t.

The trick is to drop details between dialogue to nix these and develop scene, character, and tension.

Develop scene by scattering descriptions when a pause is needed. If you struggle setting scene, as I often have issue with, this is a great place for small details: a loud, neon pink duvet; the rubber frog stuck in an inner-tube on the bookshelf; a sun-bleached couch hidden in the tall grass. Be specific, use details that differentiate the scene or that reflect what the characters are thinking about.

This type of detailing helps slow down a tense scene where a lot of dialogue takes place. If you want the tension to grow, let the reader dwell on what’s said by providing sensory input that heightens the feel of the scene.

Also, to slow down and deepen tensions means providing internalization. We don’t simply talk and listen during a conversation. We digest and respond to the other person. Maybe your characters are on the same page, and their blood is pumping, their excited, and they’re thinking, Yes! Yes, finally someone who isn’t a moron. They get it. Thus, when they respond verbally with, “I absolutely agree,” you won’t need to dump why they agree into their conversation. It’s not needed. The reader feels the same.

But maybe, the characters are not in agreement with each other, and they’re trying to navigate unfriendly territory without slitting each other’s throats. Then amidst the conversation, your POV character might think to himself, This guy. How do they keep making this guy? All slick and shiny with his clichéd euphemisms and shoddy tan. Forget this, I won’t buy from him. All the while, the other guy is selling him a used car—persistent beyond normal pleasantries.

If you’ve met people that you connect with or dislike immediately, you know the emotion that comes with this, but readers should get a taste, too. Hence, internalizing. This doesn’t just mean thoughts. It means physical reactions, too. The heat of anger, the cold of fear, the frenzy of adrenaline, the gooeyness of love. Throw some of that in there, too. Steer clear of the clichés with personification or metaphor.

Finally, show a bit more character, beyond scene and internalization are other senses that we can appeal to, other details that we can drop. Build a character slowly through a conversation. First, notice the elaborate ring on the old man’s middle finger that seems to glow strangely when the sun hits it right. Then when he speaks of a long-gone lover, show how his dark eyes shine, glossy with a deep pain that crinkles when he looks away. Catch a whiff of his cologne, astringent with undertones of grease and cedar. Finally, the notch in his ear, twisting his lobe that you didn’t notice under the shadow of his hat until he leaned forward.

We don’t see everything about a person at once. If we did, life would be boring, and when we do it in writing, our stories grow boring. And don’t merely show us things. Make us feel them, taste them, and smell them.

Don’t be afraid to give your characters’ tics—picking at their nails, rubbing their hands together, tugging at their shirt hem—we all have tells for our emotions. The reader might not know exactly why a character keeps spinning their ring around their finger, but the writer should, and they should show it.

Let me know your tips and tricks for eliminating dialogue tags and world-building. Or disagree with me, I can take it.

Daydreaming in Ink

Tags

addiction, bujo, bullet journal, daydreaming, do it yourself, ink, inspiration, planners, project planning, tracker, washitape, writing

I may be a wee bit addicted to planning and notebooks…and pens…and paper…and markers…okay, I’m just a big kid who likes to daydream in ink.

But I’ve finally found a way to make it work in my favor.

See, the internet has blown up with this new planning market in the last few years—for real, go check out YouTube or Pinterest or Instagram and drown in the bombardment of it. I love every bit of it, too, and probably consume more of it than I should, but that’s not really the point…is it?

No, seriously, it’s not. Step off my walnut.

So, I’ve been planning for the last year, mixing a multitude of formats and systems to make sure I break down my big plans and don’t forget any of those small steps…you know, the ones that come back and bite you in the ass at the last second.

Without any further side-tracking, hopefully, let me show you.

Here are three examples of my main project tracker, the one that shows me the entire project from start to finish in one page. It reminds me of my important tasks and allows me to track my progress and mark things out.

The simple ability to fill in my word count or how many chapters I’ve edited in a manuscript helps me feel like I’m accomplishing something even though I know I have a long way to go.

And these babies are new to me this year, after months of struggling to balance my tracking, so I’m excited to finally complete one of these. (Hint: the green one, Blood Phoenix: Imprinted should by full by the end of next quarter, to include publishing and promotion and giveaways and a whole lot of jazz. Squee.) You can see I have a whole lot sitting there in one place.

Here’s another way I help track from month to month to be sure I’m completing the tasks from my project list.

This I took from Lisa Jacobs. I bought her workbook, Your Best Year 2017, and this allows me to take the chunking from my project plans—in conjunction with my marketing and publishing outlines—and implement them into each week of the month so I know when I need that little shit done by to stay on target.

Let me be honest, I don’t always stick to this. Life happens, shit gets shifted around, but now, I know when I’ve missed stuff and can figure out how to finish those things and keep moving forward.

It also lets me know when I have to let some tasks go. I have big dreams and big plans, and I pile a lot onto my own plate. So when I miss something consistently, I know it’s not meant to happen for a particular project. And that’s fine. I’ll try it next time.

Well, that’s it. That’s how I’ve made my tendency to goof off and doodle and journal into a productive and rewarding practice. Best of all, I really love doing it.

What do you do to plan out your creative projects? Do you have creative energy that you channel in your favor? Tell me about it.

Closing Circles: My ultimate project timeline

Tags

2017, bullet journal, closing circles, editing tips, plan, project tracker, Timeline, writing tips

This last week, sick with some extra ick had its grubby grip on my faculties. Luckily, I had a blessed four-day weekend and spent some much-needed time writing in a personal project.

I’m pretty much the example of why writers shouldn’t have multiple projects going at once. I jump back and forth across multiple works, add to that the editing and the teaching, it may make a bit of sense as to why I operate like plate spinner.

I will say that I typically only write one project at a time—at least, one book. Short stories, sure, I can juggle a few. This is also the product of my master’s degree in creative writing. Deadlines are deadlines after all.

So why the hell am I talking about it? Because too often, we writers and editors spout advice and our own stories with a great deal of confidence and certainty. I don’t want to come off like my way is the right way or the only way. It’s simply the way I do things, and my process changes depending on my project.

But in all of them, planning has come in handy—even though I consider myself a panster.

Ultimately, I wanted to share the new way I track my projects for the year.

 

This is my yearly projects at a glance, so I know when I should be doing what. This includes the planning, writing, editing, pre- and post-marketing, when to ask for help, and when to launch. This baby has all of the basics.

You’ll notice I limit myself to four projects on any given month. They’re in varying places of production to keep me from trying to create too much at once or edit too much at once, etc.

I will also be tracking the realities of my work ethic and ability to keep to deadlines. So far, I’m pretty close.

But it is just January.

How are you staying on track for your 2017 closing circles goals?