Category Archives: Writing, Reading and Publishing

I wrote a book about writing a book!

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Very meta, eh?

Want to speed up your writing process and complete a top-notch novel in just two months?

Learn veteran author Becky Clark’s tried-and-true techniques to:

  • Write faster
  • Organize yourself
  • Create a flexible outline you can live with (even if you hate outlines with an intensity usually reserved for walking into a spider web)
  • Devise your own reliable system to get you from the premise to THE END in eight short weeks.
  • Become the prolific career novelist you’ve always dreamed of!

I’ve already heard some encouraging things about it, and got the coveted orange #1 badge and some good rankings right out of the gate …

I know it won’t last, but it’ll be fun for a while!

Available in print and ebook on Amazon now … and other platforms soon!

What I Learned From NaNoWriMo

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In November 2004 I attempted my first writing marathon … National Novel Writing Month. Every year between November 1st and 30th, crazy writers accept the challenge to write 50,000 words of a new novel.

Chris Baty hatched NaNoWriMo in 1999 with 21 aspiring novelists accepting the challenge. Six of them crossed the finish line.

In 2007, 101,510 writers took the challenge and 15,333 finished. A total of—and this is a REALLY big number—1,187,931,929 words were logged.

In 2017, 306,230 writers participated. Crikey!

There have been at least 25 published NaNoWriMo authors, including Erin Morgenstern’s THE NIGHT CIRCUS, one of my very favorite books of all time! Here are some more. Maybe you’ll be on that list in a few years.

But only if you accept the challenge, Grasshopper.

Why, you ask, would I subject myself not once, not twice, but three times to this type of chained-to-your-desk-butt-numbing-highly-caffeinated torture? Simple. To write. To get it done. To learn. To create a habit.

Having survived, I highly recommend this peculiar approach to kick-start a stalled project or to silence your inner-editor or to give yourself a shove right over the Niagara Falls of your creativity.

I learned to plant my hindquarters in my chair for extended periods of time. It seems obvious, but the obvious truths are often the very ones we overlook. If I’m not in front of my keyboard, it’s guaranteed that no writing will take place. But if I’m sitting, fingers poised, I will write.

I learned the importance of an organized plan of attack. I knew how many days, hours, and minutes I had available to write. I knew how many words I needed. I had access to a calculator, a 40-cup coffee hypodermic, and the pizza delivery guy. My plan was born.

I learned how to write faster and better. When quantity matters more than quality, I learned to stop editing myself along the way. Something magical happened when I ignored my dictionary, thesaurus, and style manual. I was free to write creatively instead of correctly. My word choices broadened in direct proportion to how far behind I was on my word count that day. Instead of using a boring placeholder word like quickly, I found myself using a more colorful phrase like in a jiffy or as fast as a pig going downhill on roller skates. What a bonus to count all the extra words!

I also learned it doesn’t matter whether I’m cranky, sad, angry, tired or hungry. Nobody can tell my state of mind based on my writing. Now I know I never have to put off writing until I’m in a better mood. As a bonus, I learned that writing always puts me in a better mood.

I learned the importance of good health. Sitting and writing is a physical ordeal, despite all outward appearances. I had to take time to exercise and stretch every day. I had to protect my fingers, forearms, neck and eyeballs constantly. I also flossed more often than normal, but in retrospect that probably had more to do with stalling.

I learned my household would not fall apart if I focus on an all-consuming project. Thanksgiving dinner is just as enjoyable with Stove Top as it is with homemade chestnut-blue cheese stuffing. My kids, in fact, say it’s more enjoyable. Go figure. Laundry will not topple over and suffocate us while we sleep, field trip forms will get signed in a timely manner, and the Health Department will not need to visit.

So, if you’ve been considering writing a novel, or you just need your butt kicked, dive into National Novel Writing Month in November. Take a couple of days, make some notes, research a location for your setting, sketch your characters, and maybe rent an industrial-sized coffee pot.

Let me know how it turns out. Never mind. I know how it’ll turn out. It’ll be crappy. Oh, so joyfully crappy. Mold it, bend it, curse at it, delight in it.

You’ve won!

Have you ever tried NaNoWriMo? Why or why not?

Becky’s Big Bodacious Box O’Books and Purse Giveaway

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Win fabulous signed books from

PLUS one of my handmade book purses!

The more actions you complete, the more entries you earn. A few of them you can do every day to rack up points!

I’m editing this on March 7th to add that due to oh, about forty-leven gazillion emails from people about how much they love those purses, I’ve made an executive decision to add more winners!

If at least 50 people share this post before the contest ends, I’ll offer a SECOND prize of one purse to a random winner. And if I get 100 shares, I’ll offer a THIRD prize of another purse to yet another random winner! So share away … even if you don’t want to win, you have a friend who does!

Ends on March 30 … Good Luck!

 

Becky’s Big Bodacious Box O’ Books and Purse Giveaway

The Journey of FOUL PLAY ON WORDS

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I finished copyedits for FOUL PLAY ON WORDS 10 days before the deadline … yay, me!

funny mysteriesNormally I work on a mini-trampoline at a stand-up desk, but as you can see here, I needed to spread out for the task at hand.

My production editor mailed me a paper copy of my manuscript that she already triaged for the most egregious mistakes I made. (She also emailed me this as a PDF so I could see what she corrected. I should use this as a learning tool, but I prefer to live in a world of denial.)

She also emailed me a Word document with her comments highlighted. Most of these were questions and clarifications, places where I might have contradicted myself, instances where she was confused by something I said.

In the photo, you can see the page proofs in front of my computer. Each page is set up like how it will look in the actual book. On the screen is the Word Doc with her comments.

I noted where her first comment was, then read on my paper copy from page one up to that comment. If I had any changes I wanted to make (typos or changing a word or phrase), I wrote them in pencil on my paper copy. When I got to her comment, I dealt with it, again, writing any changes on my paper copy.

This time I was smart. I also wrote the online page number on my paper copy because it’s never the same, a problem I grappled with during copyedits for FICTION CAN BE MURDER. Often, she’ll have the same continuity issue in several places in the Word doc. If I make the change on page 47, but it also comes up on page 112 and 163, I will have to search and search for that change. This time, I was working on the paper copy so I could fix all three pages up front. This was a little flash of brilliance on my part. (It would really be something to brag about if I’d remembered to note in her comments on pages 112 and 163 that I’d already taken care of them so when I got there I wouldn’t be, you know, searching and searching. We live. We learn. Hopefully.)

So I did that all the way through; reading the paper copy, responding to the online notes and making other changes along the way.

This took me 14 hours and 40 minutes, over 5 days from December 17 – December 27, 2018.

Then I typed all the changes from my paper copy into the Word doc with her notes, again, making tweaks as I went. I’m sure I made new and exciting mistakes as well.

This took me 3 hours and 30 minutes, on December 27th and 28th.

Then I let it sit for a couple of days while I drank heavily.

On December 31, 2018 I started early and read the whole thing on my laptop while sitting in my living room. That’s really the only way to catch flow, pacing, continuity, and echo problems. Again, I made some minor changes as I read.

This took me 6 hours and 20 minutes. Because it’s careful reading that requires a lot of concentration, and because my butt goes numb, I got up and moved around every hour when my timer dinged.

I wrote the dedication and the acknowledgments, checked the bio they already had, and then sent it off.

In a couple of weeks my production editor will look at all the new brilliance and harm I’ve done to the manuscript, deal with everything she needs to, and then send me a new copy. I’ll have a chance to read it over one last time, but I’ll only have a few days to do so before it goes into production.

For those of you keeping score at home, here’s the timeline for FOUL PLAY ON WORDS ””

The first draft was written in 20 days between October 3 – November 4, 2016.

  • 163 pages
  • 43,907 words
  • 41.25 hours
  • 1,065 words per hour, average
  • 2 hours per day

The first edit was done in 6 days between November 7 – 29, 2016.

  • 12 hours
  • 2 hours per day

I typed in all the changes over 4 days (7 hours total) between November 29 – December 2, 2016.

I let it rest, then re-read it and made more changes over 3 days (6 hours total) between December 7 – December 9, 2016.

Then I really let it rest while I recovered from spinal surgery and got FICTION CAN BE MURDER ready to launch (April 2018).

I picked it up again on January 8, 2018 and did another revision over 13.5 hours and called it done on January 12, 2018.

“Done,” of course, being an ambiguous term in the writing world. It’s also why I always laugh when people ask, “How long did it take to write your book?”

But it’s up for pre-order now and will be published on April 8, 2019!

mystery with humor

 

 

Money and Funny

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I had two books going recently, one nonfiction and one fiction.

the business of writing

SCRATCH was a mostly fascinating collection of essays from writers of all stripes talking about the money part of writing. You know, making a living.

As Vladimir Nabokov said, “I write for my pleasure, but publish for money.” As J. Robert Lennon remarks in his essay, “this philosophy seems unambiguously useful: fiscally pragmatic and mojo-positive.”

Money is something we don’t really discuss, which in her essay Choire Sicha might be because “writers cleave off from the real world, where math actually exists. Many of us gleefully profess an incompetence with all kinds of numeric systems, up to and including taxes. If you ever want to see something sad, ask a room full of freelance writers about their tax strategies. It’s like asking a pack of baby kittens about space travel.”

But the most illuminating one for me was the interview with Cheryl Strayed in which she speaks very candidly about her money issues. She describes being on tour promoting her wildly successful bestseller, WILD, and having her rent check bounce.

I don’t think most writers understand the money part of publishing, and I’m sure non-writers don’t. This book can fix that.

The second book I just finished was from my friend Gretchen Archer.

funny mysteries

She writes an absolutely hilarious series of capers set in the world of casinos. DOUBLE DOG DARE is her latest, but I suggest you begin with her first and savor your way through.

I’m Hearing Voices

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I rarely re-read books.

The exceptions are

 

 

 

 

 

 

 

 

… because I love her with my whole heart.

 

 

 

 

 

 

 

 

 

… because The SantaLand Diaries is pretty close to perfect writing.

 

 

 

 

 

 

 

 

 

… because I read this book as a young teenager and it cast a spell on me that appears to be unbreakable.

And now I can add

 

 

 

 

 

 

 

 

to my list.

I read it when it came out in 2017 and a member of my book club chose it for our December 2018 read. The second time through I was able to savor it, letting the prose weave through my thoughts, finding new nooks and crannies to settle in.

Eleanor Oliphant gives new meaning to the term “socially awkward.” She’s a mulligan stew of hilarity, practicality, and heartbreak … and so much more.

I love the story, but it’s on my list to re-read because of a couple of things the author, Gail Honeyman, does really well.

The first thing is backstory. I won’t give anything away, but Eleanor has a secret. Honeyman dribbles just the right amount of information the reader needs at just the right time. ‘Nuff said about that, lest I spoil it. You’ll see when you read it.

But the second thing the author does is much more difficult. And that is capturing Eleanor’s voice.

Talking about voice in writing can be nebulous. Like art or pornography, you can’t define it precisely, but you know it when you see it.

Voice has different levels and different meanings.

First, there’s the writer’s voice. The writing of Ernest Hemingway doesn’t sound anything like F. Scott Fitzgerald. Janet Evanovich doesn’t sound anything like John Grisham. Dr Seuss doesn’t sound anything like Emily Dickinson.

Each author chooses certain words and rhythms to their writings. I bet you can search the depth and breadth of Fitzgerald’s works and never find him describing anyone as a “mulligan stew.” Nor will I ever write anything resembling, “So we beat on, boats against the current, borne back ceaselessly into the past.” I use a lot of sentence fragments when I write, anathema to some. Hemingway rarely varies his sentence pattern, anathema to me. But that’s an entirely different blog post. Fight me later.

Second, there’s the actual voice of the character. Some people have foreign or regional accents. Some drop the G at the end of a word. Some speak fast, some s l o w. Some have a squeaky soprano, some a basso profundo. Eleanor Oliphant is Scottish and that creeps in every so often. The first time I heard The SantaLand Diaries was on NPR, read by the author, David Sedaris. He has a very distinctive voice and I haven’t read anything of his since without hearing his words in his voice.

Then, the heart of a character, who they are. And that is shown by everything they say, how they say it, what they don’t say.

This is the voice that Gail Honeyman excels at with Eleanor Oliphant.

 

 

 

 

It doesn’t take long to get a sense of Eleanor, does it? While it might be infuriating to hang out with her as a real person, I love spending time with fictional Eleanor.

I could listen to her voice for hours.

What are some other voices that have stuck with you over the years?

I Need Your Opinion

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I need your opinion.

pre-orders available now – just click the beautiful cover!

I’m gearing up for the release of FOUL PLAY ON WORDS in April 2019 but I’m not sure what kind of publicity events I should do. They’re all fun for me, but a girl only has so much time!

What kind of book events do you like?

  • Launch parties
  • Readings
  • Panel presentations at libraries or bookstores
  • Facebook parties
  • None of the above
  • Something else?

Tell you what … if you comment on this post and tell me what kind of events you like and what you like to hear authors talk about, when I get my Advanced Reading Copies (ARCs) of FOUL PLAY ON WORDS, I’ll pick a lucky commenter (maybe more) to get a copy hot off the press!

Also …. I’m contemplating a southern California book tour, maybe in June. If I was in the vicinity of The Book Carnival in Orange, would you come see me?

Comment below! And thanks … you’re the BEST!

 

Can We Have A Peek?

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… at your workspace?

Personally, I find it fascinating to poke my nose into the various ways authors have of organizing themselves. So I’ve asked a couple of my writer pals to draw back the curtains on where they make their magic.

First up is Catriona McPherson, who writes the funny Last Ditch Mysteries, the historical Dandy Gilver series, and a whole bunch of other award winning standalone mysteries.

 

Here’s the view from my writing desk. I keep all the mystery fiction in my writing room as inspiration and/or pressure to stick at it when the going gets tough. I’ve also got Stephen King, Jane Austen and Dorothy Whipple in there – my favourite writers of all time, dead or alive.

 

My dad made the shelves. He’s been making bookshelves for his daughters since before I was born and this autumn when he comes “on holiday” there are more in the offing, because we’re out of space again.

The doll/clown collection is definitely towards the Stephen King end.

The view of my desk changes a lot in the course of writing a book. I’m quite tidy as a rule, but first draft production makes a big disgusting mess. When there’s an empty peanut butter jar with a spoon in it, Neil knows I’m getting there. An empty pickle jar with a fork in it usually means I’m on the last chapter.

I had to ask Catriona what was on the plate because it didn’t look like pickles or peanut butter, but rather kiwi peels. Lots and lots of kiwi peels. I was wrong. They were artichoke leaves.

Next is Philip Donlay, who writes some of the most heart-pounding thrillers around. When you crack the spine on one of his Donovan Nash books, make sure you have plenty of time to read because you won’t want to stop! Speed the Dawn is his newest one. One of the many fascinating things about Phil is that he is a vagabond with no fixed address. He’ll spend six months here, six months there, six months some other place.

 

I work on the road and typically commandeer the biggest table in the house. I print everything, and what doesn’t fit in its own folder I stick on the wall. Logistics are a huge part of my books, everything and everyone needs to intersect at the right time and place. Visualization is the key.  

This is from the house I rented in Pebble Beach for the writing of Speed the Dawn.

And here’s where yours truly works.

Yes, I stand on a mini-trampoline while I write and Nala waits somewhat patiently for me to be done. If she’s not up here with me, she comes charging up the stairs when she hears the quiet little click of my laptop. When I’m actively writing, I set my timer and go nonstop for one hour. Then I stop and turn on a song and either dance on the trampoline, or use my pink hula hoop to get the blood flowing. Then I do it again for another hour, and perhaps another, but never more than four.

If I’m editing on paper, I sit at that table on the big blue ball. You can see my current work-in-progress there in the binder. Just next to that table is a big elliptical machine, my arch enemy. When I feel like punishing myself, I get on that for five minutes.

And here’s the view standing on my trampoline …

I gaze at the gorgeous Colorado sky and occasionally watch the heron swoop in and steal fish from my neighbor’s pond. I didn’t get a lot of work done when they had two black lab puppies over there.

So there you have three completely different offices. I don’t think any of us would work well in the others’ space. How ’bout you? Where do you work the best?

DEFENDING JACOB by William Landay

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I couldn’t stop reading this, absolutely engrossing.

Written by a former district attorney about a district attorney, it was full of those “telling details” that give weight to fiction.

Literary novel meets legal thriller.

The teenage son of the DA was arrested for the murder of a classmate. Roller coaster plot that you’ll want to strap in for. Double thumbs up.

I also read HUNTING HOUR by my Sisters in Crime pal, Margaret Mizushima, and highly recommend it.

This graphic I made of her Timber Creek K-9 series is not in order. Start with KILLING TRAIL, then STALKING GROUND, then HUNTING HOUR, then BURNING RIDGE. They’re all fantastic.

Margaret writes the Timber Creek K-9 mystery series featuring Deputy Mattie Cobb, her K-9 partner Robo, and Cole Walker, DVM. KILLING TRAIL, book one in the series, was nominated for an RT Reviewer’s Choice award for Best First Mystery, and STALKING GROUND, book two, was named a finalist in the 2017 Colorado Book Awards mystery category.

I find it fascinating that she assists her husband with their veterinary clinic and Angus cattle herd. Writers are just fascinating people, I guess!

Happy Reading!

First Drafts, Revisions, and Rainbow Flamingos

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A couple weeks ago I finished the first draft of METAPHOR FOR MURDER, the third book in my Mystery Writer’s mysteries.

Here are the final, first draft stats:

Total words: 59,173

Total hours: 54

Total writing days: 24

Average words per hour: 1,096

Total pages: 210

I learn ”” or relearn ”” something with each manuscript I write. Two things got my attention this time.

One, I should have gone back to read pertinent parts of FICTION CAN BE MURDER to reacquaint myself with some characters I hadn’t seen in awhile. I took too much of my writing time trying to remember the nuance of some of my people. It bogged me down and zapped my momentum.

Two, my vision for the final showdown was weak. And this actually happens all too often. I think, because the story is so much in my head that I expect I know the blocking of the scene better than I really do. I need to take more time with the minutiae of important scenes like this. Again, it slowed me way down and annoyed me.

Now I’m well into the revision stage. This is where I fill in all the blanks I left. When I’m writing the first draft, instead of going backward to find and fix something I’ve already written, I leave notes to myself … He should have called her at some point during the day …… check the timeline, should it be dark yet?

I also write some fairly boring sentences, with a lot of bland or repetitive words, passive verbs, and incomplete description.

If I can’t immediately come up with the right words, I use placeholders like ””

I was dug in like a [     ]

She made [frustration noises]

[Describe the room, mentioning the worn spot in the carpet]

Then during Phase Two, when I make that first revision pass-through, I know I have to plug those holes or look up some minor research question right away. I have to stop and determine what Peter O’Drool’s squeaky toy is going to look like (rainbow-colored plush flamingo, for those of you playing along at home). I have to look up potentillas to remind myself what color their flowers are (yellow). I have to decide on all the questions those toddlers are going to ask before I move on (so … many … questions!).

Even though it slows me down in Phase Two.

But by the time I get all that done through the entire manuscript, I get to go back to page one, this time grounding the reader in the story using all the senses, adding layers of theme and emotion, making the funny bits funnier, the mystery bits more mysterious, the clues more hidden or maybe more visible, the writing more vibrant.

It sounds like work, but what do they say about doing a job you love? You’ll never work a day in your life.

Remind me of this when I’m in full-fledged tantrum mode, hating both my book and myself.

Do you keep statistics on your progress for anything? Do you find it as comforting and as fascinating as I find my stats? Do you think it keeps you on track or otherwise benefits you? I also track my weight first thing every morning and I know that keeps me a bit more honest with my food choices during the day.