Writing

Define Your Writing Goals for 2024: What Do You Want to Achieve?

Nephele Tempest

I gave up making resolutions years ago, but I firmly believe in the power of goal setting, and in this case, setting your writing goals for the new year. Resolutions tend to get forgotten or dropped within weeks. Goals, however, if made correctly, can carry you through the year. What do you want to achieve in 2024?

A spiral notebook with the words New Year's Resolutions across the top, followed by 1. Quit Making New Year's Resolutions. Because of course, writing goals are better than resolutions.

Prep Work

Start by assessing where you are now. How far did you get with your writing goals this year? Were the goals you set realistic? Manageable? Or did you set yourself up for failure by overloading your schedule? Make note of what worked and what did not. Write things down, in a notebook or your planner or the app of your choosing. Just make sure you track your progress somewhere where it’s easy to go back and review over the year.

Next, think about where you’d like to go. For this stage, think big. Don’t limit yourself to what you want to achieve in a year, but envision a career path and the things you’d like to do along the way. It might stretch five years out or even ten. If you’ve done this before, revisit your previous ambitions and see if you still feel the same. Goals and dreams can alter as you move through your career. Don’t hold yourself to a plan simply because you drew it up three years ago. Let yourself be flexible.

Setting Your Writing Goals

Once you have the big picture down, consider what it will take to get from where you are currently to the next point on your career path. Focus on steps that are within your control. For instance, you night want to get an agent, but the timeline for that isn’t entirely up to you. Instead, making the goal to work toward getting an agent. Set a timeline based on the steps you will take: writing a query letter, making a submissions list, sending out queries in batches.

Even though we are looking at New Year’s goal setting, don’t tie yourself to the one-year schedule. If your goal is to write the first draft of a new project, you might take a year, but you might take more or less than that. Base your writing goals on your own work habits. Maybe you write daily, in which case a goal of 1,000 words per day might get you a draft by the start of April. 500 words per day result in a six-month draft. But if you’re a weekend writer, those same drafts might take a year or two. Don’t set your writing goals according to someone else’s idea of how you should work (unless, of course, you’re working to deadlines).

A dark green typewriter with a sheet of paper fed into it. A single word typed on the paper reads Goals.

I find setting a variety of goals really helpful. One major project might stretch for the year, while smaller ones can be completed in a month or a quarter, giving me a sense of accomplishment that motivates me through the year. Not every goal should start January 1st, either. You might have additional stages that kick in come spring or summer. It could be the next stage of an earlier goal, research you plan to focus on during a vacation, or something completely new.

Breaking Down Your Goals

Consider all the steps you need to take to achieve your goals. Break the process down as far as you can go. It’s not enough to say writing 500 words every day will net a draft in six months. When do you plan to write? Where? If you miss a day, how do you plan to make up those words? Will you write on holidays?

Next, determine what will prompt you to work toward your goal. Do you need an accountability buddy? To set calendar reminders? Are you the type of person who works well if there’s a reward? Maybe you’ll treat yourself to writing at your favorite café once a week or celebrate with dinner out once you’ve finally hit send on that first batch of query letters.

Tracking Your Progress

Be sure to check in on your progress with your goals as the year goes by. Every quarter, or even monthly, if you have fast-moving goals, take a moment to review your plan. How are you doing? Do you need to change anything to make your plan work more smoothly? Have circumstances cropped up that require you to reconsider the systems you’ve set in place? Your writing goals are yours; only you can determine if they’re still what you want. Checking in gives you the chance to make sure you’re heading down the correct path.

Take the next few days to consider what you want your writing life to look like in 2024. And of course these tips for goal planning work for goals of all kinds. If you enjoy reading self-help books, I’m a fan of The 12-Week Year: Get More Done in 12 Weeks than Others Do in 12 Months by Brian P. Moran and Michael Lexington, mostly for the way they discuss breaking down goals and using smaller chunks of time to maintain momentum during the year. There’s also a version geared toward writing goals: The 12-Week Year for Writers by A. Trevor Thrall, Brian P. Moran, and Michael Lexington. I haven’t had a chance to read the latter yet, but it’s on my TBR and I’m interested to see how they adapt the concept for writing projects.

Have you already started setting writing goals for 2024? Are you excited for the new year?

Writing as a Practice: December Writing Challenge 2023

Nephele Tempest

Welcome to this year’s December Writing Challenge. Those of you familiar with the challenge from past years already know how this works, but for newcomers, or for anyone looking for a refresher, here’s a quick rundown on how to tackle the challenge. But first, why should you participate?

December Writing Challenge 2023

December can be a crazy month. The holiday season means days crowded with shopping, travel, entertaining, and a pretty full social calendar. But the end of the year can also bring with it very busy work schedules, with deadlines looming or year-end reconciliation of one type or another. December also tends to be the month when we plan for the new year, setting goals or resolutions. This type of chaos can spell the end of dedicated writing time for anyone juggling a writing project along with a day job and a personal life. So, each year, I set this challenge. I encourage writers to make their writing a priority and keep up with their writing practice, even for a few minutes each day.

The Basics

The rules for the December Writing Challenge are simple. You can adapt them as you see fit, to work with your personal goals and schedule. Writers already working professionally, who have a deadline, might want to ramp up the challenge to meet their goals. Newer writers can feel free to use the challenge as is in order to keep up their momentum through this busy time of year. If you’re coming off of NaNoWriMo, the challenge can be an excellent way to finish up that first draft if you’re looking to take it from 50,000 words to something more publishable. Whatever your goal, the challenge can help you push forward.

1. Write daily. Butt in chair, hands on the keyboard; curled on the couch with a pen and notebook; sitting at your favorite cafe. Wherever you prefer, using whatever medium works for you. But aim to spend at least a few minutes writing every day. I do recommend you try for half an hour, but if you can only manage 15 minutes, call that a win.

2. Ignore word counts or page goals, unless you need to hit a deadline of some sort. This challenge is not about finishing a project or being super productive. You just want to keep your hand in the game so, come January when you have a New Year’s resolution regarding your writing, you can dive right in. The challenge helps keep your writing muscles limber through the holiday season.

3. Write what you want. Fiction, nonfiction, poetry. Work on a novel, a memoir, some essays or short stories. Tackle one project all month long, or write something different every day. Feel free to play or experiment. Stretch your imagination. Whatever keeps you writing.

And that’s it. Those are the basic rules for the challenge. I will say that, regarding that first rule, daily writing is the goal, but it’s flexible. Don’t look at that and get discouraged.

Officially, I give you two free days to use as needed. Swamped getting the house ready plus cooking for incoming guests? A little hung over following your office holiday party? Use a free day. Or don’t. But keep in mind, the challenge should work for you, not against you. So, don’t let it add to your stress if you only end up writing a few days a week.

Tips for Finding Time to Write

If you can carve out a bit of time each morning before you start your day, terrific. But we all know how difficult that can be, particularly if you share your house with people vying for your attention. So, a few tips for ways to make writing your priority.

1. Tell people you’re participating in the challenge and ask them to help you keep to your writing time. Put on a literal writing hat (tiara? mouse ears?) when you’re working at home, so your family knows to give you your little window of quiet.

2. Schedule writing dates for yourself, either alone or with an accountability partner. Mark them on your calendar, set a reminder, and go write. Keep that appointment the same as you would a dentist appointment.

3. Keep a notebook and pen on you at all times. Write in the car when you’re waiting in the carpool pickup or the Starbucks drive-thru. Jot notes in the waiting room at the doctor or while getting an oil change.

4. Actually leave your desk during your lunch break, and go work on your own writing instead of working through the meal.

5. Break your daily writing into smaller chunks, especially if you need to hit a deadline or other goal. Several small writing windows instead of one long one might not be ideal, but it’s better than not writing at all for want of a long enough block of free time.

These are just a few ideas to get you going, However you approach the December Writing Challenge, have fun with it. Good luck, and happy writing!

Wrapping Up NaNoWriMo: Write into the New Year

Nephele Tempest

How often do you promise yourself that you will keep up your writing during the holiday season, only to go weeks without a word? December brings chaos, with family and shopping and travel, never mind end-of-year work obligations. I understand how busy it can be, and how writing can take a back seat. Hence my annual December Writing Challenge.

Photo by Işıl

Each year, I encourage writers to prioritize their writing during the month of December. The idea centers on maintaining your momentum, whether you are finishing up a month of frantic work for NaNoWriMo, or are just plugging along on a work-in-progress. Take a little time to write each day. Even fifteen minutes counts. Unless you’re on deadline, don’t fret over word counts or progress made. Simply show up and keep your writing muscles limber.

My own schedule looks crazy this year, but I plan to show up here every few days with some cheerleading for anyone taking the challenge, starting with a full post of tips tomorrow to kick things off. I’ll post on Twitter, Instagram, etc., more frequently, so be sure to follow me for extra encouragement.

Please note: I do not mean to say that a writer has to write every day under normal circumstances. But for this particular challenge, that’s part of the fun. When life cranks things up to eleven, can you find a way to make your goals a priority?

I hope to see many of you join in the challenge. Give a wave here or on socials if you’re participating. It’s always wonderful to see who has decided to play along, and how they progress. Happy writing!

 

Master the Art of the Synopsis and Get Your Novel Out the Door

Nephele Tempest

I’m delighted to announce the launch of my online course, Master the Art of the Synopsis. Designed for writers struggling to craft a compelling synopsis, the class divides the process into manageable stages. It expands upon the course I’ve taught for years, both in person and virtually, and adds supplemental materials including a workbook and sample synopses. Students will have lifetime access and be able to work through the units at their own pace.

Master the Art of the Synopsis: Learn How to Create a Versatile Sales Tool

After spending months–or years–writing a novel, writers often hate having to tackle a synopsis. How do you distill an entire book down to a few pages, or even paragraphs? But don’t let a sense of overwhelm stall your submission process. If you or someone you know needs to polish up those synopsis-writing skills, check out the course today.

Give Yourself Permission to Be Creative: Ethan Hawke via Ted Talks

Nephele Tempest

Ethan Hawke puts himself out there. Whether he is acting, playing music, or putting pen to paper, he throws his full effort behind the task. In his recent Ted Talk from quarantine, he shares some sound advice and demonstrates the honesty behind his craft. Even if you’re not a fan, you should give it a watch. I particularly recommend it for anyone suffering from imposter syndrome, or struggling due to the pandemic.

Margin Notes: Does Marginalia Make You a Better Writer?

Nephele Tempest

Do you scribble margin notes in your books when you read? I never really adopted the habit of keeping marginalia, but this past week I read Austin Kleon’s post, Reading with a Pencil, so now I’m thinking about it. He claims marking up your reading material serves as a gateway to becoming a writer. It forces you to read with a writer’s brain. I can see why he says it, but I wonder if it’s true.

Stack of books with pencils

Margin notes felt wrong to me when I was a kid. My mother trained me early on not to write in books. She took me to the library weekly, so there was a specific logic in her insistence I treat the books well. It carried over into how I kept my own books. I recall going through a very brief period at about four when I underlined (in pencil) words I recognized. I say recognized rather than read because “kitten” isn’t difficult to pick out with the book is The Three Little Kittens. But I outgrew the habit quickly, probably about the time my mother realized what I was doing.

Through school, I took notes separately, in my notebook. Teachers handed out all of our textbooks at the start of the year and expected us to return them in good condition in June. The habit was so well ingrained that by college, when I was purchasing my books, it took conscious effort to highlight the text. Even then, I reserved margin scribbles and highlights for my math and science books. As an English major, I mostly read novels in thin-paged editions I tried to keep clean. Ink would have bled through those pages. Pencil would smudge and become illegible. Writing in them felt impractical.

But occasionally I’d come across books with margin notes. At the library, used bookstores, in a friend’s loan. I read enough literary criticism and biographies of authors including references to marginalia to become curious. What process of reading resulted in these small comments? So I decided to give it a try.

Armed with a few sharpened pencils, I crashed on the couch with my latest book and set to reading with a pencil in hand. But it wasn’t a particularly successful experiment. I’d get involved in the book and forget to make any notes whatsoever. Or, I’d grow so self-conscious about needing to take notes that my reading slowed to a crawl.

Looking back having now read Kleon’s post, I understand that the slow, thoughtful reading necessitated by making margin notes helps you read more closely. It forces you to analyze the text in a different way. But at the time, I tried to take notes more because I wanted to be a person who left witty comments in the margins than from a desire to read deeply.

Which brings me to my question. Does keeping marginalia automatically give you a leg up on becoming a writer? It no doubt makes you a better reader. You read more thoroughly, think through the narrative on a different level. You engage with the content. And the act of writing notes has been proven to help you recall what you’ve read. But is that the same things as reading like a writer?

I once read a book on how to write romance–maybe twenty-five years ago, so I can’t recall the title. The author recommended taking a favorite romance novel and marking it up with a color code. Plot development should be underlined in one color, characterization in another, action a third, and so on. I gave it a very brief attempt before giving up. First, writing is not that clear cut; sentences serve multiple purposes at once, so what color to choose? Second, the slow, frustrating task had me ready to throw my colored pencils out a window after less than a chapter. I’d never make it through underlining the book. Still, the process of trying to separate out those differen parts of the text showed how well the author had entwine them. It served as a lesson on book structure, which was ultimately the point.

Marginalia can include the reader’s thoughts on many aspects of the text. Looking through books with margin notes, you’ll find lovely quotes underlined, disgust expressed at purple prose, and comments on the sanity of the protagonist. Readers focus on whatever captures their attention, but not everything readers note will be helpful to their writing process. I’d argue marginalia can definitely be helpful to the developing writer, but that the most helpful marginalia occurs when the writer reads with that specific intention. A reader who reads for pleasure and happens to make notes won’t engage on the same level as one hoping to improve their writing.

What are your thoughts? Do you write in your books? Is it something you feel helps you understand how the author approached their work? I’d love to hear some other takes on the subject.

A Daily Writing Habit: Do You Need to Write Every Day?

Nephele Tempest

The idea of a daily writing habit prompts frequent discussion in writerly circles. Do you need to write every day to become a good writer? The short answer is no, of course not. Many successful writers do not write every day, for whatever reason. Their day jobs make it impossible, they prefer to write for long blocks of time on the weekend, etc. If writing daily rubs you the wrong way, or simply is not feasible, do not panic. But if you can manage a daily writing habit, I encourage you to try, because writing daily has its advantages.

daily-writing-habit

What Can Writing Daily Do for You?

  • Creativity is like a muscle; the more you work it, the stronger it becomes. A daily writing habit helps you train your brain. When you sit down at your computer or pick up your notebook on a very regular basis, your brain understands it’s time to create. If you write every day, even just for a little while, you will see a change in how ideas flow. Everyone knows that feeling of being “rusty” from not writing for a while. The opposite is true, as well. Writing daily helps prime the pump and keeps your creative mind nimble.
  • A daily writing habit helps you fight a tendency to procrastinate. If you plan to write three days per week, it is easier to put off that day’s writing. Whereas, if you write every day, you don’t have to decide whether to fit a writing session into your schedule. There is no questioning “Is this a writing day?” because the answer is always yes.
  • Writing daily can also help lessen the pressure of deadlines. It’s no guarantee that you won’t need an all-nighter or two to finish a manuscript, but it certainly makes it less likely than if you’ve been procrastinating for weeks.

No rule of writing says that you must write every day. Even writers who do write daily will take time off here and there. Writers are human beings, and all human beings need to take breaks from their work, no matter how much they love it. Nor is writing daily a cure-all for every writing issue. Everyone faces a block now and then. But if you’re serious about writing, or trying to improve, or looking to build up new habits for the new year, give writing daily a try. Join my December Writing Challenge, or just promise yourself to write every day. You might find that writing daily works for you.

 

Want to Be an Author? Finish Something

Nephele Tempest

Writers write, but authors publish. If you want to go from writer to author, the first step is to finish something, then go back and rewrite it until it is ready for submission. But finishing that first draft really is key. It’s impossible to edit a blank page, and equally impossible to sell something without an ending.

Most writers starting out have written plenty of beginnings. They get an idea and sit down to write. They rush through those first pages filled with excitement, developing cool characters and describing the setting and sending everyone off on their adventure brimming with conflict. But then something happens around page fifty. Maybe page 100 if they are lucky and have plenty of momentum. The writing starts to slow down. That initial idea is no longer sufficient to carry the action forward. More is required, and the beginning writer isn’t sure just what that more entails.

And then comes the shiny new idea.

Everyone’s had them, sometimes even while staring at the computer screen, willing the current idea to shape up and get marching. That niggling thought — a weird new hero, a fantastic scenario, a compelling situation, a snippet of dialogue in the back of the brain — that sounds like the answer to everything. Because this new shiny idea feels so much better than the work in progress. It’s new! It’s shiny! It’s so much more exciting! And it lures you away from the current project that hasn’t been behaving and into its shiny clutches.

Before you knows what’s happened, you have a stockpile of beginnings. Partial novels that have never even made it to the half-way point. Because there is always a shiny new idea lurking around the corner, looking to distract you. The more ideas you have, the more ideas you get. It’s the way creativity seems to work. But there are several problems with this.

  • Shiny new ideas are not actually always good ideas. Sometimes they’re just plain ordinary ideas that, if given time, will fade completely from your mind and go unmissed.
  • Chasing shiny new ideas means setting aside current projects and never finishing anything. And you can’t sell something that’s not finished.
  • Writing the middle and the end of a story requires different skills than writing beginnings, and you can’t get better at writing middles and ends if you never actually write them. You want to hone all your skills as a writer, not just some of them.

Shiny new ideas will always pop up and wave at you, but it is vital that you set them aside and continue with whatever project is currently on your plate. That doesn’t mean forget them entirely. Jot down notes in your journal, start a computer file for the potential new project, and then get back to business. Consider that shiny idea on the to-do pile. Maybe you’ll get back to it in a year and find it’s percolated into something wonderful, or maybe you’ll wonder what the hell you where thinking. Either way, it gets its due eventually, and you get to push through and finish the project at hand.

But what about the argument that the new idea is better or more interesting than the one you’re writing? Of course it seems that way. The new idea is a mystery. You’ve spent virtually no time thinking about it, which leaves it wide open to play with. The current idea, on the other hand, is starting to come together. You understand the characters more than you did at the beginning, you’ve begun to piece together the plot, and things have moved forward. The easy thinking has been accomplished, and you need to dig deeper. Further the conflict, ask tough questions, maybe backtrack on a couple of points. You are past all the surface material and mining for treasure, and that’s work. Hard work. Of course the idea of something new and shiny appeals. That doesn’t make it better.

Writers write, and if all you want to do is write, you can play with as many ideas as you wish. But published authors commit to finishing their projects and resist the distraction of every new idea that catches the light. Of course, occasionally there are projects you find just aren’t working and you decide to abandon them, but that’s a question of the project’s merit, not the distraction of a shiny new idea. So when the next little tidbit flits along and catches your eye, tuck it into a folder for future thought and get back to work.

Writing 3rd Person: Maintaining Limited POV

Nephele Tempest

Writing in first person presents the challenge of maintaining a voice that sounds like a distinctive character instead of that of the author, but third person narration comes with its own set of issues and these can be less clear. Writers need to determine whose third person point of view they are going to use. Are they using a single character? Rotating between two or more characters? Or will they zoom way out and use an omniscient narrative style? Once a writer makes their choice, they need to guard against slipping between them.

Omniscient narration has fallen out of style, but when done well it offers the advantage of not keeping secrets from the reader. However, close third-person POV — either of a single character or several — has become much more of the norm for third-person narratives, in part because many writers like the way it puts the reader right into the action. The trick with this point of view is to maintain that strict closeness and not slide into a more omniscient viewpoint. Some aspects of close third are obvious, and simply a matter of keeping track. Who knows what? Who has learned what facts, been present for a given discussion, overheard which secret? When it comes to plot points, it’s not difficult to determine if a character should know about something.

The tricky part of close third-person POV comes with description. There is a tendency to think of third person as the writer setting up their movie camera where the character stands, and writing as if they were filming from that specific spot. It’s logical — the description consists of whatever that camera “sees” from that position. But close third provides more than the view from the character’s eyes — it’s the view from that character’s brain, as well. Descriptions from a character’s POV must be both what they see and what they think about what they see, and here is where things often slip from the character’s POV to the writer’s — or from close third to omniscient.

In close third person, a character should see and observe in a way that makes sense for them, not just as a way to inform the reader of what a room looks like or what is going on in a scene. A wealthy society matron or an interior decorator might walk into a well-appointed living room and recognize the rug as a French Aubusson, but most characters probably would not. An actor who spends a lot of time on the red carpet and with stylists might identify his date’s dress as Armani, but an accountant for a computer company would be much less likely to make the same observation. A writer needs to know their characters, and understand how they see the world. Does the protagonist stick their head out the third story window and see a Porsche coming up the block or a red sports car? The reader must see what the character sees, and nothing more.

This distinction also comes into play in smaller details, such as how other characters are referred to within the text. When the protagonist walks into a room full of strangers, it makes sense to differentiate with physical details, such as the redhead, the woman in the black dress, the taller of the two men. But these vague descriptions should end the minute specifics are assigned. Once the POV character meets the beautiful redhead and knows her name is Susan, they should stop thinking of her as the redhead or the knockout or the beautiful woman, because people don’t reverse their thinking process in that way; she’s Susan.

Similarly, if a male protagonist is speaking to another man, and they are the only characters in the scene, the second character should never be referred to as the other man. Doing so pulls the reader out of the protagonist’s head, out of the room, to a place hovering above the scene where they are aware of two people talking. The protagonist doesn’t think of the person he’s speaking to as the other man — he just thinks of him as Joe or Dad or whoever he is. These sorts of errors often come into play when writers are looking for a way to avoid using a name or a pronoun too often, but it’s much more important to maintain the established POV than to avoid using he or him a few times in a paragraph.

Writing close third person involves really getting into the characters’ heads. When reviewing a scene, a writer needs to consider whether all of the details coming through make sense given the character’s POV. If vital information needs to be relayed, it’s important to determine how the character will know or discover it before it can be presented for the reader, and to keep the author’s voice from sneaking into the narrative.

 

 

Polish Your Prose: An Editorial Cheat Sheet

Nephele Tempest

No matter your resolutions for the year, regardless where you stand with your current writing project, the time will come when you need to edit. I don’t mean rework your plot, heighten dramatic tension, or beef up your protagonist’s motivations. Rather I’m referring to that nitty gritty editorial process of looking at your work word by word, sentence by sentence, and examining the language you’ve used. Do your descriptions dance on the page? Have any cliches snuck into the mix? If you had to read aloud in front of an audience, would you find yourself running out of breath?

Sentence-level editing involves more than checking for missing words or making sure your Find-and-Replace changed a character’s name all the way through your manuscript. This is your chance to shape up your prose and show your skills, not just as a storyteller but as a wordsmith. But a manuscript can be a fairly long document, and sometimes it’s hard to remember everything you want to check as you work your way through from first page to last.

Here’s a handy cheat sheet of things you might want to keep in mind while editing:

1.  Cut your adverbs and make your verbs stronger.

2.  Rework any cliches.

3.  Eliminate filler words and phrases, such as “currently”, “that”, and “in order to.”

4.  Refer to people as “who” not “that.”

5.  Cut repetitious words and/or phrases.

6.  Divide long, hard-to-read sentences into two or more shorter sentences.

7.  Fix any inadvertent double negatives in long, complex sentences.

8.  Hyphenate modifying words.

9.  Minimize use of “very” and “really.”

10. Beware of overusing passive voice/passive verb structures (is/was/-ing verbs).

11. Double check the definitions of any words you’re not 100% sure you know.

12. Determine and weed out any words, actions, or punctuation that you personally overuse as filler, such as characters smiling or taking deep breaths, ellipses in the middle or end of dialogue, exclamation points, etc.

13. Replace general words with specific ones, such as “thing(s)” or “stuff.”

14. Cut unnecessary chit-chat from dialogue; limit conversations to substance that moves your story forward.

15. Limit distinctive dialogue quirks or movements to a single character; don’t give “signature” details to more than one person unless there’s a reason (child emulating a parent or older sibling, etc.).

Of course, these are just a sample of common errors you should be checking for at this stage of the editorial process. Depending on your writing style and personal habits, you will add to (or maybe subtract from) the list to customize it for your own use. Likewise, many of these are aspects of usage to keep in mind but not hard-and-fast rules. For instance, I don’t expect you to wipe every single adverb from your work, merely to avoid overusing them. Reliance on adverbs suggests your verbs need to pull more weight, but adverbs on their own are not evil parts of speech.

Clarity should always be your first goal. You wish to tell a story and have your reader understand it. Beyond that, you combine your personal voice and writing style with the style in which you’ve chosen to write this particular work in order to impart everything else to the reader — setting, tone, atmosphere, culture, etc. Use this editorial phase to hone those details for consistency and strength of impression. It’s your last chance to polish your prose, eliminate the ordinary and unnecessary, and make your work sparkle.