Usually my characters write the story for me the name is very important for me. Other times they are very hard to come up with. Then there are times when I have a very small role and can’t think of a name. Well, this morning I have a solution for you all, and that solution. So here are some ideas that I use, when I don’t want to look behind the name or a site called seventhsanctum.com. The reason I use the police phonetic alphabet and not military is because of the names they have. For example for A- Adam and military is Alpha.
Police Phonetic Alphabet:
Adam Letter A
Boy Letter B
Charles Letter C
David Letter D
Edward Letter E
Frank Letter F
George Letter G
Henry Letter H
Ida Letter I
John Letter J
King Letter K
Lincoln Letter L
Mary Letter M
Nora Letter N
Ocean Letter O
Paul Letter P
Queen Letter Q
Robert Letter R
Sam Letter S
Tom Letter T
Union Letter U
Victor Letter V
William Letter W
X-ray Letter X
Yellow Letter Y
Zebra Letter Z
Why do we write:
Is it because it is an escape from your reality, you want to show readers a different world, a different possibility in the realm of your mind?
There are many reasons and endless reasons on why we write, the question is do you know why?
We are set for a goal of 500 words for the meeting but what are your knew goals
Where are we on our books:
Discuss (stuck, need help, and more)
WRITE FOR AT LEAST 45 MINUTES
Welcome all to the agenda meeting. Robert can not be with us today to him attending his Auxiliary police meeting.
CampNANOWRIMO started again and is in full swing for several of the members. This goal for the end of the month is to reach 50k. Congrats to all that participate.
We lead off track for a bit with not having goals and I would like to re-instate goals again. Not only goals, but how will we accomplish them in a 2-week span. Also goals have to be physical evidence, not just thinking about something. If you think it, scribble it down.
[(PS Don’t read out loud): It can be in general, like I will write 2 chapters or edit two chapters.]
So to start goals again, I will go first
- I will start, not only will I readjust my schedule due to my new job and such forth,
- Starting to get up a 08:00 and am putting a block in the day where I shut things down and just write. (So far I am not able to do it just yet)
- I also need to straighten out the office to achieve this goal (getting rid of some clutter.)
- make an agenda for the next meeting
- I will sit down one night/morning prior to the meetings and create an agenda. Agenda will be hopefully made on Sunday mornings.
- Have my novel up to at 40,000 words. I am just under 2 thousand right now.
- Just blocking things out, and increasing my productivity for every hour of writing to get up to 2k words. I might not make this campNANO, but will start the practice of writing every day again.
The new and improved so lamed goal is at the agenda meetings to write 500 new words, and the non agenda nights to write 1k news words each. This may include editing/reading and/or writing.
Topic: Learn to Write by Pushing Yourself to Write
WRITERS BLOCK IS BULLSHIT!!!!!!!!!!!!!!!!!!
Writer’s Block is Bullshit
‘Writer’s Block’ is just an excuse coming from us sitting in our comfort zones. It does not exist. All we need to do is pushing ourselves to keep writing.
If you write only when your mood is good, you are sitting in your comfort zone. If you write only after you capture great ideas, that is not challenging enough.
Be a Fierce Editor for Yourself
Set your own commitment on how much or how often you want to write, and then… stick to it!
If you are writing a book, you can set deadlines per chapter. Commit that you will finish, for example, one chapter each week.
Whatever happens, do not–EVER!–miss your own deadlines. Write when you are happy, write when you are sad. Write even when you have no idea what to write.
Quantity is not the point here. Regularity is. But of course, the more you write, the faster your writing improves. It is known.
THE EDITORS BLOG
on October 9th, 2011 by Fiction Editor Beth Hill and last modified on October 9, 2011
The bookshelves and the Internet are awash with tools for the beginning writer.
But what if you’re not a beginner? What if you know how to format and plot and write dialogue? What if point of view doesn’t give you fits and you know how to work setting and details so they add to the tone of your novels?
What if you don’t need basic advice but do want to delve deeper into the blood and guts of writing? Where do experienced and already competent writers go for advice? What do they do when the doubts about their abilities rise to shake them and the fears of never publishing again disturb their nights?
For starters, if you’re a published and/or successful writer (and no, they’re not always the same thing), don’t think that success means you should know everything about writing and that others expect perfection from your every project and word.
You’re human, with all the frailties that come with the condition. Your next book may not equal the sales of the last one. Your new genre may give you fits. The great idea you pursue through 100,000 words may prove to be less than marketable.
Forever give up the idea that once you’re published, you’ll automatically be published again and again and that your sales will only increase and that you’ll move predictably from tier to tier until you’re ranked with the NY Times best-selling authors who’ve earned both fame and fortune.
To continue to be a successful writer, you have to continue writing successfully.
And that means writing an appealing story, a well-written story that your publisher can sell (or that you can sell if you self-publish). It means having the right story in the right genre about the right topic at the right time.
Successful and experienced authors have to position themselves, just as new authors must. That positioning may require a different emphasis, that’s true. But positioning oneself is necessary just the same.
Yes, if you’re a published author you may have a much easier time selling a manuscript, but there is no guarantee that you will sell. Or if you do sell, that you’ll be promoted. And if you’re published and even promoted, that doesn’t mean that readers will either like or buy your newest novel.
It’s sad but true—past success doesn’t guarantee future success in many fields, and this is all too true for writers.
Your genre may go out of style. Your style might go out of style. Your last success may have been a fluke and the reading world may not want what you’ve got to offer.
Your story or style or genre mix may be behind the times or ahead of its time.
You might err by simply relying on what worked in the past rather than writing with the present and future in mind.
I’m not saying you need to dump everything that’s worked in the past. But do at least examine those factors. See if there’s something you can do to improve, see if there’s something to improve, even if you’ve been writing for years.
Don’t settle for second best.
Experienced writers can look at what’s worked for them and at the condition of the market and the story world to see what might work for future projects. But what else could they consider?
Even experienced writers can seek advice from a critique partner or writing group or from their editors.
Ask about your work. Don’t let your fame or the cachet of being published make you wary of seeking advice. No one person knows everything about any topic—someone somewhere has useful advice for you.
Don’t let embarrassment hold you back. And please, please, please don’t let a sense of superiority keep you from asking questions. Each one of us, no matter how many writing credits to our name, can write better, can pick up tips on our weakest skills. Ask someone you trust how you can improve your writing or how you can better market it.
Successful writers can read and reread their favorite novels, both for inspiration and for practical answers to their questions.
How did someone else do it, someone who’s successfully published? How did a writer develop theme in a favorite novel, develop and weave it so intricately that the story stands as a beacon of inspiration?
How did that one writer create such a complex and memorable character? How was that character introduced? How was her personality revealed? What made her a character that readers talk about 10 or 20 years after they’ve read her book? How is her story resolved? How did the author tweak even the resolution so that it added an exclamation point to the lead character’s story?
Study stories and characters and plots that you admire. Determine what it is about them that attracts you. And then work at crafting your own outstanding characters and plots.
Their own Books
Published writers can search their own books for both strengths and weaknesses.
Writers who mentor or teach others, who press deep into story issues to help other writers, can’t help but become better writers.
If you’re willing to move beyond the basics with other writers, willing to address issues other than cosmetics and the simplest fixes, you will improve your own craft.
Know that you’ll never reach perfection. That is, you might write the perfect story once, but that doesn’t mean the next story will also be perfect. No matter what formula you follow, you can’t account for the reader. Your typical reader may enjoy hard-boiled detectives for years and then experience a life change and only want to read political suspense.
You have to keep writing in ways that will capture readers. You have to write a high-quality story that entertains. Even as the audience changes, as their needs change, so you must change and grow.
Push yourself to write better.
Push yourself to write fresh.
Push yourself to write differently.
If you settle for less than what you’re capable of, you’ll never produce your best work.
While you’re pushing yourself, remember to push your stories as well.
A new writer might think he has to play it safe to be published (and this could quite well be true). But don’t let writing in safe mode last your entire career.
Give your characters quirks and flaws that make readers wince or applaud or hide their eyes. Write events that keep readers up into the night or arguing for hours at their book clubs.
Go beyond the tried and true and the common and plain and the accepted and acceptable.
Go deep and ugly when the story calls for it. Make the story call for it. Move beyond safe and bland and into edgy or bold.
Or, push for something higher and uplifting. Write a character who overcomes his flaws and proves to be the savior his people have yearned for.
Push emotion and conflict so much that you’re uncomfortable with both. And then read your work with fresh eyes. Might that deep emotion and uncomfortable conflict take your story from so-so to spectacular?
Push a character beyond what he thought he could do, beyond what you thought he could do. Purposely write a scene that you can’t imagine including in any book of yours—and then include it.
Don’t back down. Not from innovation. Not from emotion and tension and the extremes that stellar fiction demands.
Move beyond the basics of a safe story. Step up and go over. Give readers something other stories don’t have. Make your plot and characters unforgettable, remarkable by some measure. Don’t write to fit in but to stand out.
Push yourself. Push your plot and characters. Push your readers.
Advice from Roy Peter Clark:
Every writer faces writer’s block at one time or another, but none so dramatically as the character played by Jack Nicholson in The Shining. What a shock to see that every page of this homicidal writer’s thick manuscript contains the same sentence: “All work and no play makes Jack a dull boy.” Solution? Take ax. Attack family.
Be assured that there are better solutions to writer’s block. If you are stuck, consider these time-tested strategies to help you build momentum. The key is to turn procrastination into something productive – rehearsal.
1. Lower your standards at the beginning of the process. Raise them later.
This advice, which some people apply to dating, was issued most famously by poet William Stafford. He argued that high standards create a threshold that inhibits writers from getting started. The key is to lower your standards at the beginning of the process. Get that fantasy of winning prizes or of capturing hearts out of your head.
2. Imagine the story before writing a draft.
Writing begins long before your hands get moving. The more head work you do before drafting, the easier the hand work will be. Such mental preparation is a form of rehearsal, the kind we do to prepare for asking someone on a date or a boss for a raise.
3. Rehearse the beginning by speaking it to another person.
You can draft a story with your voice before you write it down with your hands. All you need is a friend willing to listen and maybe ask a few questions. Even an attentive dog will do, preferably a Jack Russell terrier named Rex. Let the story emerge from your mouth, to your ears, then to your hands.
4. Don’t write the story yet. Write a memo to yourself about the story.
When you write to yourself, you lower your standards in a simple and productive way. Once your hands get moving on an informal draft, words begin to flow. The trick is to fool yourself into thinking that your story is something else: a memo, a journal entry, a letter, a note to a friend, a grocery list, anything that blows up the logjam.
5. Write as fast as you can for ten minutes – without stopping.
Writers wait too long to start writing. They find a dozen substitutes for writing, including eating, drinking, walking, shopping, checking e-mail messages, and wasting time on Facebook. Even research can become an excuse. Try writing early – and fast. Your early writing – call it a “zero draft” – will teach you what you know and what you still need to learn.
6. Tell the critical voice in your head to “shut up!”
You need a strong critical voice during revision when you standards will be at their highest. Listen to that negative nag too early in the process and it becomes what psychologists call “the watcher at the gate,” the negative force that wards off all creative impulses. Keep the voice in the green room until you call it on stage for revision.
7. If you are blocked in your usual writing place, try a new place.
Every writer needs about a half-dozen reliable places to work. Here are mine, in order of comfort and productivity: desk at work, desk at home, recliner in “man cave,” in airport waiting areas, on planes, and at my mother-in-law’s kitchen table. Habitual behavior usually helps writers, but when you’re stuck, don’t just sit there, change your location.
8. Write on a legal pad.
Even preliminary drafts can have that finished look on a computer screen, which is always dangerous. That clean look may artificially exalt your standards too early in the process. Enter the yellow legal pad. Nothing hand-written on yellow paper looks finished. You will be amazed at how much less anxious you become by occasionally going old school and using old tools: paper and pencil.
9. Get someone to ask you questions about your story.
When I try to help writers get unstuck, I often rely on simple, open-ended questions:
How’s it going? How can I help you?
- What are you thinking?
- What’s your story about?
- What happened? Who did what?
- What do you want your readers to learn?
- What most surprised you about this?
- What was the most interesting you learned? The most significant?
10. Forget the beginning for now. Write the ending first.
When you approach a roadblock, don’t be afraid to take a detour. If you are stuck writing your lead sentences, try drafting a passage that might end up in the middle. Or imagine where the work might end. The novelist Katherine Anne Porter once said that she couldn’t begin a story unless she knew the ending. “I know what my goal is,” she said. “And how I get there is God’s grace.”
This excerpt was written by Roy Peter Clark and comes from his latest book Help! For Writers: 210 Solutions to the Problems Every Writer Faces. Help! is the third in a writing trilogy published by Little, Brown. The first two, Writing Tools and The Glamour of Grammar, are available in paperback editions. Roy teaches writing at the Poynter Institute, a school for journalists in St. Petersburg, Florida.
As posted on Grammar Girl
I got this advise from my new parnter and editor, Steven Yerges.
You see the picture in your mind, then paint it with words as you see it. What you have to do is build it up from the back up for others to see it better though.
For example: you write “the letters bla bla bla on the faded glass window.
My editing: on the faded glass window the letters bla bla bla. :::
Its easier for readers to have the canvas before the foreground to paint their image like you would if you were actually painting. It’s fine to just go through write what you see, but for your own editing … you should go back and repaint your pictures from canvas to foreground.
Keep in mind, when you read my editing, that I’m still trying to use your painting, just help it become ordered and worded in a way everyone can paint it more easily in their mind. It is still your painting, your style.
I hate to say this about my brother, but damn that is like right on. Notice though that you still write as fast as you can, but when you go through you first draft follow his advise. Repaint it, bring the readers in by doing this. Get the canvas, the backgrounds then the larger images, then get detailed. I think this is what he meant, but I could be wrong.
We can discuss this at the meeting, but what do you think by this?
So I added a new partner to my writing and we are revising Gone Rogue for a second release with smoother writing. He is very good on grammar and punctuation and is working on the books as I type this. I should be working on the chapter we redid already. Maybe I should have him correct this. Anyways he is so far a good editor not losing my voice which is what you guys love. So here is new adventures.
due to security of the agency, you needed a damn good reason to be leaving
-Gone Rogue (2nd edition)