A Review: French on English – A Guide to Writing Better Essays


A Review of French on English – A Guide to Writing Better Essays 

 by author Charles F. French

French on English – A Guide to Writing Better Essays,  is an essential tool for writing, that you will keep on your desk, as I do, for easy reference when writing a resume, a college essay or thesis, a commentary on your blog, or a fiction or non-fiction book.  This well-thought-out little book, reveals in simple and easy steps, ways to make almost any written work error free. An added plus is Dr. Charles F. French’s free online companion site for French on EnglishA Guide to Writing Better Essays.

Charles F. French, author of French on English – A Guide to Writing Better Essays, earned his PhD in English Literature from Lehigh University.  He has been teaching writing courses in composition for more than twenty-five years at Lehigh University, Bethlehem, PA, and at Muhlenberg College Wescoe School of Continuing Education, Allentown, PA.

Dr. French’s essential reference book on writing skills, French on English—A Guide to Writing Better Essays,  includes examples of often forgotten English grammar rules that we learned in high school. He also included in simple and easy steps, how to create that first draft of a college essay or that novel many of us are hoping to write. Another important feature, is learning to create perfect citations that when improperly written, will cause a great paper to be marked down, one that should have been an A+ paper in college.

Another key feature for me when I am writing a first draft of a novel is that moment that finds me in fear of developing Writer’s Block. Dr. French has brilliantly included, in his spectacular reference book, a section entitled, ‘Brainstorming Ideas’ using the technique of ‘Free Writing’ that breaks through the dreaded Writer’s Block.

I know that you will find, French of English—A Guide to Writing Better Essays, an essential writing tool, and you will want to keep it on your desk for easy access, as I do. It is truly a treasure trove for essential error free writing!  

 

Critical Thinking: The 5 Factors that Earn 5 Star Reviews!

 

 

 

 

 

 

 

 

An excerpt from: Paul Goat Allen | March 12, 2018, Writer’s Digest. Paul Goat Allen has worked as a genre fiction book critic and written thousands of reviews for companies like BarnesandNoble.com, Publishers Weekly, the Chicago Tribune and Kirkus Reviews.

Novelists live and die by reviews yet uncovering what garners a gushing ovation or blistering takedown is often a mystery. A professional critic lays out what it takes to earn five-star book reviews. For two decades I’d been working as a freelance genre fiction book critic for outlets such as BarnesandNoble.com, Publishers Weekly, Kirkus Reviews and the Chicago Tribune. After sharing my credentials with the group, some of the writers began telling stories about mediocre or bad reviews they’d received at different points in their careers from one or more of the companies I’d listed.

As a reviewer, not much has changed since then. I enjoy all genres and have reviewed thousands of titles in hundreds of sub-genres ranging from apocalyptic fiction to zombie erotica. (Yes, there’s such thing as zombie erotica.) In the end, genre categorization matters little to me—it’s all about the story. With that in mind, I decided to formalize a universal framework through which I process and analyze my various reading experiences. While there are undoubtedly specific narrative elements I look for in-particular-genres (pacing and tension level in thrillers, for example), there’s a pyramid of qualities—a Hierarchy of Needs, if you will—that I seek in every story. While highly simplified, it’s this structure that dictates whether I give a book a positive or negative review.

These five criteria will not only provide a glimpse into how a veteran book reviewer dissects and evaluates a novel but, hopefully, make you look at your writing in a different light. See for yourself: Does your work-in-progress have what it takes to earn a positive review?

The Book Reviewer’s Hierarchy of Needs: How to Earn Five-Star Book Reviews

  1. Readability

A book’s degree of readability is the base layer of my reviewer’s pyramid, and the foundation for any good story. The quality of a novel—narrative clarity, narrative fluidity, having a coherent storyline—is directly related to the number of times I put that book down. Some are so bad, so poorly written, that I struggle to get through a single paragraph without wanting to walk away. Others have such a fl uid plot that I find it virtually impossible to stop reading—Tad Williams’ The Witchwood Crown and Jim Butcher’s The Aeronaut’s Windlass being two such examples of utterly readable, page-turning novels.

I’ve read a lot of “unputdownable” books over the last few decades, and the vast majority of these all have something in common beyond a clear and fluid narrative: The stories have noticeably strong chapter beginnings and endings. It’s a small thing, but a great way to compel readers to keep reading. How can you put a book down when every chapter begins and ends with a cliffhanger sequence, bombshell plot twist or powerful statement? When I consistently find these elements in a novel, I know the author fully understands the significance of readability.

Conversely, novels that aren’t as readable—that are poorly written with awkward sentence structure, a confusing storyline, weak chapter beginnings and endings—are almost asking to be tossed aside. This may sound obvious, but if you can’t compel a reader to read your story, then you need to focus more on your craft before penning another book.

  1. Immersion

I define immersion as the ability for me, the reader, to not only lose myself in a novel (I call these “stay-up-all-night-till-your-eyes-bleed” reads) but to experience the story intimately, living vicariously through the characters. This trick is accomplished through a continued focus on setting, rich description and atmospherics. I don’t want to experience the story as a detached viewer looking down at what’s happening—I want to feel like I’m in the story.

The litmus test for this is easy. If I become so engaged with a book that I lose track of time—if I glance at the clock and hours have passed by—you’ve succeeded in drawing me fully into your read. Writers who are absolute immersion masters (think Cherie Priest, Justin Cronin, Charlaine Harris) are so good at captivating description that weeks, months and oftentimes years after reading their novels I can still vividly recall specific scenes.

This layer is where many writers stumble, and here’s why: While they may excel at world-building and meticulous description at the beginning of a novel, once the action and adventure ramps up, they not only lose focus but completely ignore description altogether. I’ve seen this happen countless times in every genre: rich description for the first 100 pages or so, then almost nothing in the final 200. It’s called literary escapism for a reason. If I can’t lose myself in a read—from beginning to end—then I haven’t fully escaped. Writing the Intimate Character: Create Unique, Compelling Characters Through Mastery of Point of View

  1. Character Depth and/or Plot Intricacy

Three-dimensional, interesting and identifiable characters bring emotional connectivity and intensity to the read. If your readers aren’t emotionally invested in your characters, then the narrative impact of your story is inevitably going to be negatively impacted. Emotions wield power. If you can bring your readers to tears, make them laugh out loud or scare them to the point of checking under the bed, then you’ve succeeded on some level.

Creating authentic characters to whom readers can relate is a solid achievement—but an obvious word of warning: Stay clear of clichés and stereotypes. Overused conventions—like the Chosen One in fantasy who is consistently a white male, or the emotionally damaged billionaire entrepreneur in erotic fiction who needs to sexually dominate his love interest—even if brilliantly rendered, will underwhelm and disappoint more than a few readers (and reviewers).

Now, the reason I include an “and/or” between character development and plot intricacy is because, in some rare cases (particularly in mainstream thrillers), a novel with an impressively knotty storyline can still succeed with relatively cardboard characters.

Which is why plot intricacy is key: Why read a novel where you can accurately predict what’s going to happen after a few chapters? (I do that quite often. After reading the first chapter or two, I’ll jot down a prediction in my notes. You’d be surprised how many times I’ve guessed the ending correctly.) I just finished reviewing a brilliant historical mystery for Publishers Weekly that was filled with so many plot twists I was left guessing until the last few pages. It doesn’t matter if you’re writing a fantasy or a thriller or a romance—the plot has to be intricate enough to keep your reader simultaneously engaged and a bit off balance.

  1. Originality and Innovation

This one ties in with embracing originality, be it atypical characters or unconventional story structure. So many books out there today are built upon unoriginal, rehashed, derivative storylines. I read a lot. And I get bored easily, especially when reading the same basic story arc again and again. My advice? Don’t play it safe. Write a story that you’ve never read before. In a 2016 Goodreads interview I conducted with fantasy novelist Michael J. Sullivan, author of Age of Myth, he said,

“It doesn’t matter if it’s been done before. It just matters if it’s being done well now.”

I love that quote. Just because something has been done before doesn’t mean it can’t be re-envisioned or reimagined but be innovative—put a new twist on an old mythos, turn a stereotype on its head. Have the courage to be creative!

  1. Thematic Profundity

In the introduction to the 2006 reissue of Walter M. Miller Jr.’s 1960 Hugo Award–winning classic, A Canticle for Leibowitz, Mary Doria Russell writes, “You’ll be different when you finish it.” That’s my hope for every novel I pick up—that within the story there will be a kind of spiritual and/or existential wisdom, a kind of revelation or insight that will change the way I look at myself and the world around me.

A novel that holds this kind of thematic power—as well as the other elements in the Hierarchy of Needs—will get a starred review from me every time. Stories, no matter the genre, have the power to change lives. Novels like Andreas Eschbach’s The Carpet Makers, Margaret Atwood’s The Handmaid’s Tale and Yevgeny Zamyatin’s We have irrevocably changed who I am. After all, that’s the ultimate goal, right? To write a commercially successful and critically acclaimed novel that is both entertaining and enlightening.

Evaluating a novel is a cumulative process. Those with masterful character development but zero immersion will still receive a poor review, for example, while a thematically profound read with excruciatingly bad readability will receive a terrible review.

May this Hierarchy of Needs not only make you more aware of how your writing is experienced by readers—and jaded book reviewers like myself—but also offer up a few invaluable insights that can be used to improve your craft. Who knows, maybe my next starred review will be yours.

Paul Goat Allen has worked as a genre fiction book critic and written thousands of reviews for companies like BarnesandNoble.com, Publishers Weekly, the Chicago Tribune and Kirkus Reviews.

 

 

Three Secrets to Great Storytelling!

Whispering

 

 

 

3 SECRETS TO GREAT STORYTELLING as presented on Writer’s Digest. I found this article by Steven James helpful in forming the structure of scenes.  (this is a re-blogging from 2014 but I thought it deserved a revival now, because it is simple, straightforward, and to the point.)

As a novelist and writing instructor, I’ve noticed that three of the most vital aspects of story craft are left out of many writing books and workshops. Even bestselling novelists stumble over them – Steven James But they’re not difficult to grasp. In fact, they’re easy.And if you master these simple principles for shaping great stories, your writing will be transformed forever. Honest. Here’s how to write a story.

Secret #1: 
CAUSE AND EFFECT ARE KING.

Everything in a story must be caused by the action or event that precedes it.  As a fiction writer, you want your reader to always be emotionally present in the story. But when readers are forced to guess why something happened (or didn’t happen), even for just a split second, it causes them to intellectually disengage and distances them from the story. Rather than remaining present alongside the characters, they’ll begin to analyze or question the progression of the plot. And you definitely don’t want that. When a reader tells you that he couldn’t put a book down, often it’s because everything in the story followed logically. Stories that move forward naturally, cause to effect, keep the reader engrossed and flipping pages. If you fail to do this, it can confuse readers, kill the pace and telegraph your weaknesses as a writer.

Secret #2: 
IF IT’S NOT BELIEVABLE, IT DOESN’T BELONG.  

The narrative world is also shattered when an action, even if it’s impossible, becomes unbelievable. In writing circles it’s common to speak about the suspension of disbelief, but that phrase bothers me because it seems to imply that the reader approaches the story wanting to disbelieve and that she needs to somehow set that attitude aside in order to engage with the story. But precisely the opposite is true. Readers approach stories wanting to believe them. Readers have both the intention and desire to enter a story in which everything that happens, within the narrative world that governs that story, is believable. As writers, then, our goal isn’t to convince the reader to suspend her disbelief, but rather to give her what she wants by continually sustaining her belief in the story. The distinction isn’t just a matter of semantics; it’s a matter of understanding the mindset and expectations of your readers. Readers want to immerse themselves in deep belief. We need to respect them enough to keep that belief alive throughout the story.

Secret #3: 

IT’S ALL ABOUT ESCALATION.  

At the heart of story is tension, and at the heart of tension is unmet desire. At its core, a story is about a character who wants something but cannot get it. As soon as he gets it, the story is over. So, when you resolve a problem, it must always be within the context of an even greater plot escalation. As part of the novel-writing intensives that I teach, I review and critique participants’ manuscripts. Often I find that aspiring authors have listened to the advice of so many writing books and included an engaging “hook” at the beginning of their story. This is usually a good idea; however, all too often the writer is then forced to spend the following pages dumping in background to explain the context of the hook.

IN CONCLUSION

By consistently driving your story forward through action that follows naturally, characters who act believably, and tension that mounts exponentially, you’ll keep readers flipping pages and panting for more of your work.

 

Zodiac Sign for June 21-July 22

Zodiac Facts about the Water Sign Cancer 

Symbol:   Crab

Element:   Water

Polarity:   Negative

Quality:   Cardinal

Ruling Planet:   Moon

Ruling House:   Fourth

Spirit Color:   Violet

Lucky Gem:   Ruby, pearl

Flower:   Orchid and white rose

Top Love Matches:   Taurus & Pisces

Key Traits:   Intuitive, emotional, intelligent, passionate

The Motto:   “I feel, therefore I am.”

The Cancer Personality

Emotional, intuitive, and practically psychic; ruled by the moon and characterized by the crab, Cancer has so much going on in its watery depths. Cancers may seem prickly and standoffish at first meeting, once they make the decision to become friends with someone, that person has a friend for life.

Is love in your stars? Find out with a live psychic reading.

Most Cancers have been called psychic at some point, and with good reason—Cancer can often intuit relationships, ideas, and motivations before anyone has actually spoken. That can make for challenging interactions with this sign—Cancer hates small talk, especially when it contains white lies (like saying, “How nice to see you!” when it’s clear that both parties would rather avoid each other). That’s why social gatherings can be overwhelming for Cancers. They’d much rather spend time in small groups where everyone is on the same page.

In romance, Cancer is a giving and generous lover and expects the same in return. The Crab is above mind games and hates the thrill of the chase—if you love someone, why not say it now? It’s not uncommon for Cancer to fall into committed love after just a few days or weeks, and even though that decision is sudden, it can easily last a lifetime. Cancers tends to be happiest when they’re part of a pair, and the best relationship brings out their greatest traits. But even though a Cancer thrives in a duo, he or she also has an independent streak, and needs plenty of time to do things solo. This sign has an active internal life, and is often are happy living in the realm of imagination. Sometimes Cancers need help from one of the more grounded signs to make their dreams a reality.

Cancer loves creating and needs some type of creative outlet, whether it’s painting, writing, or even just reading. Cancer also loves connecting to a higher power, and may find comfort in religion or spiritual practices. And even though Crabs can be intense, they also have a funny side with a wry sense of humor, and they’re adept at observing and mimicking people around them.

Finally, Cancer is incredibly loyal, sometimes to a fault. Cancers will go to the ends of the earth and even against their own beliefs to help someone they love. Learning how to step up for what they believe in—even if it means turning down or against a friend—is a lifelong lesson for Cancer. As the emotional heart of the Zodiac, this sign teaches everyone else that, while there’s so much in life that we may not be able to see, we should still pay attention to the unseen because it does exist—and we do need it!

Cancers are amazing! Their name says it all:

C for caring

A for ambitious

N for nourishing

C for creative

E for emotionally intelligent

R for resilient

Cancer’s Greatest Gifts

With off-the-charts emotional intelligence, Cancer quickly cuts through the BS and noise to the heart of an issue. Crabs don’t need all the facts and figures to know the right course of action, and their ability to trust intuition without judgment can aid them well. This gift is one that other Zodiac signs can learn from and be inspired by.

Cancer’s Greatest Challenges

While Cancer easily and accurately reads situations when they’re presented, he or she may not share those opinions with others. Speaking up is key, because turning inward with emotions means that those emotions may erupt unexpectedly. Crabs also expect others to know what they’re thinking, which is another source of pent-up frustration. Learning to voice opinions, even if it leads to conflict, is a lifelong lesson for Cancer.

Cancer’s Secret Weapon

Emotions. While many Cancers probably get the message to “be less emotional,” the huge range and depths of Cancers’ emotions may in fact be their secret weapon. When this sign is happy, the world knows it; when they’re unhappy, the world will work to shift their situation. In general, a Cancer’s mercurial moods do a better job than a long speech, and by sharing their emotions with the world, Crabs help other signs tap into theirs as well.

The 5 Top Reasons to Love Being a Cancer

Practically psychic, Cancers can take the emotional temperature of almost every room they’re in, and can intuit whether a situation is good or bad before anyone says a word.

Passionate lovers, Cancers are adept at throwing both mind and body into over-the-top relationships. They absolutely adore letting go and totally connecting to their body in bed.

Ruled by the moon, Cancer is incredibly in tune with the earth’s rhythm, and finds solace and pleasure in nature. More than many signs, Cancers intuitively know that tuning into the natural rhythms of the earth, the moon, and the planets can help when they have a problem.

Incredibly loyal, once a Cancer chooses to become friends with someone, he or she will have that person’s back for life, and won’t let judgment get in the way of an amazing friendship.

Creative and resilient, Cancers can always find pleasure in their own company and their own mind, and they can make anything—even jury duty or a trip to the DMV—a fascinating story.

Get Your 2018 Horoscope! Find out what you need to know about this year. https://www.horoscope.com/zodiac-signs

WHAT MAKES BAD WRITING BAD

 

 

 

 

 

 

A copy of a post I did in June 2015  – Virginia Woolf: “The psychic risk of a novel such as Woolf’s The Waves is vast – particularly for someone for whom psychic risk was so potentially debilitating.”  Written by Toby Litt who is a London-based writer. Hospital, his latest novel, is published by Hamish Hamilton. 

Bad writing is mainly boring writing. It can be boring because it is too confused or too logical, or boring because it is hysterical or lethargic, or boring because nothing really happens. If I give you a 400 page manuscript of an unpublished novel – something that I consider to be badly written – you may read it to the end, but you will suffer as you do.

It’s possible that you’ve never had to read 80,000 words of bad writing. The friend of a friend’s novel. I have. On numerous occasions. If you ask around, I’m sure you’ll be able to find a really bad novel easily enough. I mean a novel by someone who has spent isolated years writing a book they are convinced is a great work of literature. And when you’re reading it you’ll know it’s bad, and you’ll know what bad truly is.

The friend of a friend’s novel may have some redeeming features – the odd nicely shaped sentence, the stray brilliant image. But it is still an agony to force oneself to keep going. It is still telling you nothing you didn’t already know.

Bad writers continue to write badly because they have many reasons – in their view very good reasons – for writing in the way they do. Writers are bad because they cleave to the causes of writing badly.

Bad writing is almost always a love poem addressed by the self to the self. The person who will admire it first and last and most is the writer herself.

When Updike began writing Rabbit, Run it was either going to be a great technical feat or a humiliating misjudgment

While bad writers may read a great many diverse works of fiction, they are unable or unwilling to perceive the things these works do which their own writing fails to do. So the most dangerous kind of writers for bad writers to read are what I call excuse writers – writers of the sort who seem to grant permission to others to borrow or imitate their failings.

I’ll give you some examples: Jack Kerouac, John Updike, David Foster Wallace, Virginia Woolf, Margaret Atwood, Maya Angelou. Bad writers bulwark themselves against a confrontation with their own badness by reference to other writers with whom they feel they share certain defence-worthy characteristics. They form defensive admirations: “If Updike can get away with these kind of half-page descriptions of women’s breasts, I can too” or “If Virginia Woolf is a bit woozy on spatiality, on putting things down concretely, I’ll just let things float free”. If another writer’s work survives on charm, you will never be able to steal it, only imitate it in an embarrassingly obvious way.

Bad writing is written defensively; good writing is a way of making the self as vulnerable as possible. The psychic risk of a novel such as Woolf’s The Wavesis vast – particularly for someone for whom psychic risk was so potentially debilitating. When Updike began writing Rabbit, Run all in the present tense, it was either going to be a great technical feat or a humiliating aesthetic misjudgment. (Excuse writers aren’t, in themselves, bad writers; not at all.)

Often, the bad writer will feel that they have a particular story they want to tell. It may be a story passed on to them by their grandmother or it may be something that happened to them when they were younger. Until they’ve told this particular story, they feel they can’t move on. But because the material is so close to them they can’t mess around with it enough to learn how writing works. And, ultimately, they lack the will to betray the material sufficiently to make it true.

Bad writers often want to rewrite a book by another writer that was written in a different time period, under completely different social conditions. Because it’s a good book, they see no reason why they can’t simply do the same kind of thing again. They don’t understand that even historical novels or science fiction novels are a response to a particular moment. And pretending that the world isn’t as it is – or that the world should still be as it once was – is disastrous for any serious fiction.

Any attempt to write fiction in order to make the world a better, fairer place is almost certain to fail

Conversely, bad writers often write in order to forward a cause or enlarge other people’s understanding of a contemporary social issue. Any attempt to write fiction in order to make the world a better, fairer place is almost certain to fail. Holding any value as more important than learning to be a good writer is dangerous. Put very simply, your characters must be alive before they seek justice.

Bad writers often believe they have very little left to learn, and that it is the literary world’s fault that they have not yet been recognised, published, lauded and laurelled. It is a very destructive thing to believe that you are very close to being a good writer, and that all you need to do is keep going as you are rather than completely reinvent what you are doing. Bad writers think: “I want to write this.” Good writers think: “This is being written.”

To go from being a competent writer to being a great writer, I think you have to risk being – or risk being seen as – a bad writer. Competence is deadly because it prevents the writer risking the humiliation that they will need to risk before they pass beyond competence. To write competently is to do a few magic tricks for friends and family; to write well is to run away to join the circus.

Your friends and family will love your tricks, because they love you. But try busking those tricks on the street. Try busking them alongside a magician who has been doing it for 10 years, earning their living. When they are watching a magician, people don’t want to say, “Well done.” They want to say, “Wow.”

At worst, on a creative writing course, the tutor will be able to show you how to do some magic tricks; at best, they will teach you how to be a good magician; beyond that, though, is doing magic – and that you will have to learn for yourself. For what a tutor can’t show you is how to do things you shouldn’t be able to do.

Toby Litt is a London-based writer. Hospital, his latest novel, is published by Hamish Hamilton.

What to Write About When You Don’t Have Anything Interesting to Write About!

 

 

 

 

 

 

I came across three blog sites (not on WordPress) that dealt with this situation. I have been doing lots of reblogging instead of writing something myself, however, reblogging is a way of saying something important too. Mainly, that I appreciate the great writing and interesting subjects of writers, authors, and bloggers I follow, that need to be shared with others because they are so good.

Here are some points of view I found unusual:

From: http://shynesssocialanxiety.com/what-to-talk (write)-about/

  1. It doesn’t matter what you talk (write about) about because people forget most conversations completely a few days after they happen.
  2. . You have to be in the moment, not thinking about what happened 10 seconds ago or what you should say 10 seconds in the future. You have to trust that your mind can come up with the right thing to say automatically, you just have to stop “filtering” or censoring what comes out of your mouth so much.
  3. Most people have no idea what’s going to come out of their mouth, even as they’re talking. They are spontaneous when they are socializing. That’s the level you want get to.
  4. Next time you’re in a conversation, talk without thinking. Stop putting pressure on yourself to say interesting, unexpected or funny things all the time. Sure, some conversation topics are better than others, but most of the time people talk about nothing significant. Over time this approach will feel natural.

(with this attitude – I doubt this writer of the above suggestions has many friends left that care – whatever he or she is writing.)

From:  http://www.wisebread.com/4-ways-to-always-have-something-interesting-to-say

  1. Potluck: The Bite-Sized News App: Reading newspapers? Who wants all the printer’s ink on their fingers? Reading full articles online? Ain’t nobody got time for that. Fortunately, Potluck boils down the day’s events into bite-sized little chunks that allow you to initiate conversation as well as keep up with your friends. It’s the perfect app for the professional on the go who wants to be able to have something of value to contribute to a conversation, but just doesn’t have the time to follow the news.
  1. Now I Know: Trivia to Your Inbox: How about just getting a list of cool facts and the story surrounding them sent to your inbox on a daily basis? That’s just what Now I Know does. Whether it’s the story of how the Secret Service was created by Abraham Lincoln on the day he was shot or the real facts on how carrots were once purple, Now I Know is going to give you a small army of brain candy factoids to deploy for just about any occasion.
  1. Mental Floss: Listicles That Matter: Mental Floss is the gold standard when it comes to brain candy journalism. Their online incarnation is head and shoulders above the rest of the listicle-style websites populating the Internet today. Read a couple of articles every day — or just skim them even — and you’re not only going to be amused, you’re going to be filled to the brim with delectable tidbits of pop science and pop culture information to wow friends and colleagues alike.
  1. Turn Twitter into a Fascination Feed: Here’s an interesting way to use Twitter. Instead of following friends and boring news outlets, follow trendsetters, thought leaders, and other sources of bite-sized knowledge. Whether you’re into WW2 history or the latest developments in mobile content marketing, there’s a Twitter feed for you. Time’s list of the 140 best Twitter feeds is a great place to start.

(Ahhh.. “don’t follow friends? What?  Just write to strangers? Ahhh…no thank you. I really do prefer writing to people I know/follow – a little less awkward sharing things that way.)

From: https://verysmartbrothas.theroot.com/what-to-write-about-when-you-cant-think-of-anything-to-say

  1. What’s your absolute favorite thing on the planet? For me, it’s music. Usually I can default to something music related—an ode to an artist here, a list of songs or artists there. Music is the great deliverer of ideas. But for you, maybe it’s crocheting. Or cooking. Or hiking. More than likely, there’s an article in your soul about that thing you love that hasn’t been written because you haven’t written it.
  2. What’s something interesting that’s happened to you?: I’m an experience person. I’m just as likely to write about something mundane and attempt to turn it into something interesting as anybody else. Seinfeld isn’t my favorite show, but I appreciate the show’s premise as a way of doing business. Life keeps lifting, and I promise you that there are people out there dealing with or experiencing the same things you are.
  3. Lists, lists, lists!: Some people abuse lists. But a list is something you can put together that gives folks something to argue about. Is Hotel Rwanda the best movie set in Rwanda? I have no idea. Rank them. Movies starring Meg Ryan, ranked from best to worst? Has it been done? Probably. Did you do it with your own ranking and reasoning? Nope. Do that. Greatest TV dads of all time? Talk about something you can argue about all day, every day. It’s Charles Ingalls, by the way. Fight me.
  4. Find a new take on something everybody’s talking about.That might be difficult, but there are always takes out there that have yet to be explored because most people have the same take with different words. Give it a go.
  1. Have you tried something new lately?: Write about it. You’d be amazed at how many folks might be interested to read about, I don’t know, a stepladder. Or paint. Or an app you’ve just discovered. I’ll bet you just got some new shoes or a new hammer. Or maybe not, but if you did, what about a non-review review, or a functional living review? Or “I copped some new old Adidas shell toes that were awesome in 1985—here’s how they feel today.” There are options. Avail yourself, homie.

(Actually, writing about a stepladder, an old pair of shoes you’ve copped, starting an argument, or a writing about a new hammer, isn’t such a bad idea.)  

 

Writing Tips: Know Your Audience!

Writing Tips: Know Your Audience

know your audience

 

 

 

 

 

 

It’s an old adage for writers: know your audience. But what does that mean? How well must we know the audience? And does knowing the audience increase our chances of getting published or selling our books?

Some writers insist that the best way to write is to just write for yourself. Sit down and let the words flow. It’s true that sometimes a freewheeling approach will result in some of your best work. And writing that way is immensely enjoyable. But there are times when a writer must take readers into consideration.

So we have these two contradictory writing tips: know your audience and write for yourself. Taken together, they don’t make much sense, so let’s sort them out. Today, we’ll focus on knowing your audience.

In business, academic, and other types of formal writing, the audience is a consideration from the very beginning. You wouldn’t write a business letter peppered with internet shorthand (LOLs and OMGs), and you shouldn’t use casual language in an academic paper. In instances like these, it’s easy to see why you must keep your reader in mind throughout the entire project, but what about poetry, creative nonfiction, and fiction writing? Should the work be influenced by its intended readers? At what point does the audience begin to matter? And who is the audience, anyway?

View remaining 674 words.. April 19, 2018 ·http://www.writingforward.com/?utm_source=Writing+Forward+Blog&utm_campaign