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Rx for Writers |
"TURNING IDEAS INTO STORIES”
with Susan Uhlig
September 14-16, 2010
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S.M. Ford has sold over 130 magazine pieces for children and adults. She has sold two children's books. Her picture book Things Little Kids Need to Know was chosen as a 2000 Read, America! Collection Selection. Sue writes for children under her maiden name, Susan Uhlig. Check out more on her website: www.susanuhlig.com which has a link to her blog of children's book reviews. |
Jan Fields is moderator of this interview/workshop, and Web Editor of the ICL Web Site.
Green shows names or usernames of people and the questions they asked of our speaker.
Londy: Thank you so much for agreeing to come visit with us and share your knowledge. We all appreciate it and hope you enjoy your time here.
Cat: Yes, thank you so much, Sue. I love it when you people come over to share just a little bit of the knowledge you took years to acquire. It is so very, very kind of you.
Sue Uhlig:
Thanks! I love helping writers learn something new.
Londy: So how do you do it? How do you turn a baby smidgen of an idea into a beautiful, fully grown, publishable story? You get an idea, and what's next? Do you create a character? Target a market? Make some coffee?
Sue Uhlig:
You made me laugh. It depends. Let me break it down. I'll start with short stories. Usually, when I get a short story idea, I have an idea for a problem to be solved. Say, I heard about a kid who did something that they didn't know was wrong, or I look back at myself at a mistake I made as a kid and think how I WISHED I'd solved it. Those are pretty easy. I think of obstacles. I know what end result I want to have. I think about where this problem could happen and who would have that problem. I try to limit how many characters are involved and stay focused on this issue.
Sue Uhlig:
Sometimes, with a story, it's vaguer. I have a topic, not a problem. I start brainstorming. What age of child or teen could have a problem with that topic? Or in that setting? Would the kid be male or female? Why does this problem matter to him or her? Until I have a problem, I can't write a story. If I try, it doesn't go anywhere as I don't know where I'm going.
Sue Uhlig:
For a book, it's different. Or can be. I might again start with a problem. But often a character nags me. I may not know what problem, but I know they have a story to tell. It'll take lots of thinking and writing before I necessarily know who they are and where they are going or what they have to deal with.
Sue Uhlig:
I know other writers outline a whole story, then write it according to the plan. That doesn't work for me.
Cat: Do you encourage people to step out of their comfort zone, to try the unknown when going for stories? and what do you consider is the limit you should reach for? If I really have a story I'm passionate about, I'll go after it with my whole heart, regardless of the research I need to do. But sometimes, I admit, I'm lazy. How do you push yourself to reach for the end goal?
Sue Uhlig:
Yes, and no. Don’t you hate those answers?
Sue Uhlig:
I think writers should first write what they are comfortable with. Not necessarily the way it is said or the uniqueness of the story itself, but writers should set a story in a familiar setting. i.e. I’ve written a number of stories that include computers—I don’t have to research how someone uses one and what I want to say about the machine itself. The stretch is in getting across the setting or a problem I’m familiar with to my reader. Making it live!
Sue Uhlig:
The more I write, the more my skills increase and it’s easier to step into the unknown. I’ve definitely stepped out of my comfort zone with a story. Once I got this idea to write a story while standing on a school playground watching kids play recess game of soccer. I suppose as a child I played soccer a time or two in PE, but it wasn’t as popular as it is now. I didn’t want to make any mistakes in my soccer story, so I did basic research. Checked out books from the library and read up on it. Talked to a kid who played. Once I understood enough to not make mistakes about the game, I wrote my story. It was easy to do the research because I cared about the story problem. I cared about my characters. The editor who bought the story gave me high praise. I wouldn’t have received that without doing the extra work of research.
Sue Uhlig:
So, how do I push myself? I guess I have to say when a story idea won't let me go. Or the character won't let me go.
Cat: What do you think about writers writing their scenes as though they're writing a scene from a movie? Is that too much sensory detail, or overkill, or sensationalism, or do you think it works?
Okami: I tried to achieve this in one of my MG novels, someone told me that the reason this doesn't work well is because we don't get enough inside the character's head, we don't feel what the MC feels because we're too detached from him. I only realized recently how much my reader felt distant from my MC because in my efforts to avoid confusion in the reader, I inadvertently made the reader distant from the character without realizing it. Mostly because my dialogue tags and narrative were too omniscient sounding, even though I'm trying to write in 3rd person, limited. What happened was even though I was (Mostly) staying focused only on what my MC saw and experienced, there were times my tags and narrative came off as omniscient. Sue, to add to Cat's question, have you ever been confused on keeping your chosen POV on track?
Sue Uhlig:
I think I’ll answer these in reverse order. I’m the type of reader and writer who becomes the main character at some level. That means books that jerk me from one character’s head to another, as many adult books do, often annoy me. I like escaping into or visiting someone else’s world. That attitude, of course, helps me write in one POV. That does NOT mean, I’ve never gone out of my POV character. Sometimes it can be subtle. For example, a young girl might really notice what someone is wearing, but a young boy probably not. Until he starts getting interested in girls and then, of course, he’ll notice the tightness of her dress or the low top. Sometimes it’s more overt. The main character has left the room and we are writing about someone else that he can’t see or hear. Whoops!
Sue Uhlig:
I have one friend with some film background and she says she sees her stories like a movie. She’s often writing in 3rd person. That works for her. Though I guess I’ll have to ask her if she has trouble staying in the viewpoint of her character.
Sue Uhlig:
Years ago Peggy King Anderson made this suggestion in a writing seminar. Take your character with you throughout the day. So today when I walked into the coffee shop I could ask myself what my character would notice when he walked in. I know the answer because he’s always hungry. His eyes would have gone straight to the donuts in the case. His mouth would have been watering and his feet taking him right up to them. Once he could take his mind off the food, he might be comparing himself to the guy behind the counter—envying the sideburns he can’t grow yet, etc. Can you tell that this works for me?!
Sue Uhlig:
So the simple answer, Cat, is if viewing a story as a movie works for the writer, that's great. If, however, they find it takes them out of the main character's viewpoint as movies do, then I'd suggest filling their head with lots of good children's stories that stay in one main character's viewoint.
Cat: Do you keep a journal? I've been reading how authors, writers, should really have a journal so as to record ideas, images, and impressions, as well as getting an idea of how to incorporate sensory details into their novels. It might be just me, but I have a really hard time keeping a journal. I could see me doing a character journal, where I'm "keeping" a journal as one of my MC's, but for me, personally, I find journals impossible. Do you have any ideas for keeping one, or do you feel it's an absolute necessity in a writer's life?
Sue Uhlig:
I also am not a journal keeper. The best idea I ever saw for one was from picture book author George Shannon. He showed us his journal. It had clips from magazines and newspapers, sketches, thoughts. To me it was an idea file. He said he would page through it sometimes connect something from this page to that page and maybe a third page and that would be the basis for a picture book. At the time I thought--that might work for me. But have I done it? No.
Cat: How can you tell when an idea really holds potential? or is it different with each story? Do you only know if an idea is going to go anywhere after you've tried drafting?
Sue Uhlig:
I love this question. Sometimes I don't think you know whether an idea will fizzle until you try to write it. When a dud idea happens to me, I usually find I didn't have enough of an idea. Or my idea was too vague. I keep those ideas in an idea file and periodically look at them. Sometimes where an idea by itself is a fizzle, add another idea or two to it, and they combust into story.
Sue Uhlig:
I remember once I had a note on my computer that said, "write something about mailbox bashing." It sat there a long time--probably a year or two. One day a magazine's theme list had a topic idea that sparked against my mailbox bashing idea. I wrote a story--not in time for the theme list deadline--but it satisfied my desire to write on that topic. Later, I sold it to another magazine. Sometimes I look at my idea file and see a note that doesn't even make sense to me any more. That's a definite fizzle and gets tossed.
ColoradoKate: In regard to turning ideas into stories: I'm afraid that if I tried to turn all my ideas into stories, I'd get sucked under and drown, you know? I'm finding it very hard to work on more than one writing project at a time, and that is getting in my way more and more. Do you have any tips for working with more than one idea at once?
Sue Uhlig:
Start with the idea that is the most compelling to you. Set the other ideas aside in what ever way you can. Concentrate on that one idea. Get your rough draft down. If a short story, think about what magazine would be interested in this type of story. Check their word counts. Do some rewriting. Take it to a critique group and do more rewriting. Make the story the best it can be and start submitting it. While it is out, look at your other ideas.
Sue Uhlig:
It reminds me of juggling. Do you know jugglers are taught to start with one ball? They practice throwing it back and forth over and over and over before they add a second ball. They practice that many times before adding a third. Learn to juggle one ball--one idea--well before you worry about adding more.
Cat: Do you think of an idea and just write it in a notebook? How do you organize your ideas? I'm going to try index cards, and I've FINALLY managed to get a notebook by my bed, so thankfully night is covered. But what do you do during the day when you're at work and just DON'T have somewhere to write? Do you sing it like a mantra in your head?
Sue Uhlig:
I'm a computer gal, so I store most ideas on the computer. I used to write ideas on a piece of paper and you could find them everywhere. My desk is enough of a mess that unfortunately they'd get lost. I still write them on paper when that's the only way, but try to put them in the computer as soon as possible. When I've been at work, or on vacation, I've emailed ideas to myself at home. Sometimes besides an idea file as I mentioned earlier, I open up a new document and type in the opening lines of a new story and save the idea that way. That means my opening line has to have some hint of who my character is and what the problem is. I save it with a name that might give me more hints. I also might add a note in the file that says something like "remember when Rachel locked herself out."
Sue Uhlig:
I say idea file like I have one idea file. I'll confess I have multiple files. I have one in a folder of Christian stories. It includes issues, problems, ideas that I think I'd like to write about for the religious magazines. I have another idea in a picture book folder. Another yet is in a novel folder. And one in an articles folder. I also keep research material for a story in a folder on the computer. Paper research might be in a manila folder or in a 3 ring binder. This could include that picture I saw in a magazine that looks just like my main character, the sketch of her house, notes from books I've read to help me with the story, notes on things I know about my character and his family, etc.
Sue Uhlig:
The main thing is that you have to find what works for you! My husband likes using 3x5 cards for ideas and notes--he's not a writer. Some use a journal or a notebook. Some might text themselves an idea. I've used a voice activated recorder in the car. One author I met recently said when she has an idea she sits down and writes the story then and there. Incredibly she's written a first draft of a novel in a week to ten days. I've sat down and written a short story in one sitting, but can't imagine doing it with a novel. If anyone has other suggestions on storing ideas, please share.
lindaopp: For about a year and a half I've been working off a one-page list. One day I just sat down and listed every idea I could think of (okay, only one page, but it was after a very dry period when I didn't have ANY ideas, so one page was thrilling). I've written and submitted 4 of those ideas, one is a rewrite of an older story, 2 are in process.There are still 9 on the list, and I keep adding. So I will soon need to start page two. Since I'm a big-picture person, and like to see everything at once, this seems to work for me. Plus, I keep the sheet of paper close at hand on my desk and read through it every few days. It helps me when I think I don't have anything to write about. But I still need help in turning some of my clever titles or 5-word ideas into real stories - that's why I'm here!
Sue Uhlig:
I like the idea of a one page list of ideas. Another method for those who need to keep ideas in front of them is to have a bulletin board and put ideas on 3 x 5 cards. One side might be the big picture, i.e. a prince who won't drink his milk. That's the side you'd see when you glanced at the board. The other side might have notes, and thoughts.
Cat: Is it allowed to borrow ideas from other writers? Not really a whole idea, but say you were reading a fantasy where you really, really loved an element a writer used for their fairy. Is it taboo to use that same idea, with some alterations, for your own style, or would that be considered plagiarism? In the same manner, is it allowed to borrow ideas from movies, songs, plays, etc? Or is that kind of borrowing not "cricket"?
Sue Uhlig:
Hmm, in some sense we all borrow all the time. Did JK Rowling come up with the idea of wizards? Or Stephenie Meyer with the idea of vampires and werewolves? No and no. Those beings have existed in folklore for a long time. My suggestion would be when you find something you really like is to do some research. Is the idea original with this person? If so, I'd be very wary of using it. But, if it's a concept or belief that has been around, then use it with your own slant on it.
Sue Uhlig:
An example: say you see a book title you like. It spawns all kinds of ideas in your head. You start reading the book and find that the title and your ideas have nothing in common. Yahoo for inspiration. Run with your idea. On the other hand, if you read a story and think, I had that idea, too! Sorry, they beat you to it, unless you can come up with a different twist.
Kim P: How do you decide which idea is great for a short story for a magazine and which has enough substance for a children's book? Is it working an idea enough to turn it into a book or taking the idea and fitting it into a topic under a magazine's needs? Have you ever taken a short story you've written for a magazine and turned it into a children's book?
SusanU
Sue Uhlig:
hlig: The issue of short story versus picture book is a tough one. Mostly the two do NOT equate. A short story does not need illustrations. It often doesn't have scene changes--everything happens in one place.
Sue Uhlig:
When I have a story that I think might be a picture book, the best way for me to determine whether it will work or not is to make a dummy of the text. After I page it out, I look at the text on each page and see if there is something UNIQUE to illustrate. For example, let's say I have a story of a girl and her puppy. If on my first page (page 3, 4 or 5 of the dummy), the text says or implies they are sitting on the porch, that's something an illustrator can draw, but it's not very active. If they are having tea on the porch, that would make a more interesting drawing. I turn the page. Hmm, still on the porch. No clue what else the illustrator could draw. Uh oh! Turn the page. They're running down the stairs. Okay, not very interesting, but at least there's movement. So on and so forth. Look at some favorite picture books. Look at how much the text enhances the story. How much is told by the pictures and how much by text? Would you get what is happening with one alone? Probably not.
lindaopp: I'd like it if you outlined your process from start to finish - the idea to the story. I often have a character, or a great title, or a situation - but then have no idea where to go from there. I know there's no formula, but seeing your process would be helpful.
Sue Uhlig:
here's basically how I work it out:
Sue Uhlig:
First, Let's take the scenario of a character. First, I need to know about how old he is. Perhaps where she lives, i.e. apartment dweller, duplex, single family home, out in the country, suburb, city. It helps that I've lived in all of those. With those basics in mind I start brainstorming about the personality of this character and what kind of problem he has. Once I have an idea for a problem, I ask myself if this is a short story type problem or a novel length problem. Novel length problems are not nearly as simple to solve. Let's say it's a short story problem. Sometimes the problem is reliant on a certain setting, i.e. getting caught cheating on a test, puts it at school. Other times, the problem could be explored in a number of different settings. i.e. at Grandma's, at the park, or at church. I have to choose one. I might base it on a setting I haven't done recently. Or a place I've been recently that I can use instead of making this place up. I'm going to jump now, but will come back.
Sue Uhlig:
Second, let's imagine I just have a great title. This is harder. I've had one title in my head for years and still have not come up with a story to go with it. So I start brainstorming. This is where I actually use paper. :-) What do I want to write? What kind of story do I see fitting this title? Who or what would be involved? Or what kind of problem could relate? Obviously, I could go a number of directions with this. I might make columns on my paper. I write down ideas no matter how crazy or basic. The more I explore, the harder I have to dig for ideas, but the more likely I am to find something that strikes a chord. The idea may have to sit. It may need fuel from another source. If so, I throw it in whatever form of idea file works for what I think it is. I move on. If I come up with a character for this story, I basically go up to the first scenario above. If I come up with a problem, I'd go to number 3 below.
Sue Uhlig:
Third, imagine I have a situation. No character in mind. I've got a problem, but I don't know who is going to solve it. Do I have solutions in mind? If so, that can form my character. i.e. the problem is standing up for what you believe and my character is going to do this. So who would it be the hardest for to solve it that way? The outgoing, mouthy kid or the shy, quiet one? The latter, of course. Where's the worst place he has to do this? Or how is it the most embarrassing for him? Circle back to 1. and think about my character.
Sue Uhlig:
Okay, let's say I have a problem and a character. More questioning. What can happen to make it worse for my character? Or what obstacles does she need to overcome? What skills does he have that can help him in the end solve this problem?
Sue Uhlig:
This makes it almost sound formulaic, but it's more organic. I bounce around between problem, character, setting until either nothing comes or until the ideas flow. That doesn't mean the story is written. That doesn't mean the story won't change while I write it. Sometimes the idea gets put on a back burner in my brain and I wait. If it's important to me, I believe it will not leave me alone.
Sue Uhlig:
I often sleep on ideas. Especially for longer works. I go to bed thinking about my character and where he is. I wonder what she is going to do next. In the morning my subconscious may have been at work and I wake up with, "oh, so that's what's going to happen."
Rose31: I always find interesting ideas from every where but it takes me a month or two to build a plot using my ideas. It is tooo much time espcially when I have to submitt my story to a magazine with some specific theme. My story always gets prepared after or a day or two before the deadline. so I cannot post it. I have tried a lot of methods, my fellow writers suggested me before, but I faced no real success. Does it mean I'm slow at thinking plots? Or is there really a way which established writers use to think of plots quickly so I can send my story before deadlines?
Sue Uhlig:
I have several thoughts on this issue. The first, get theme lists as soon as you possibly can so you have more time to write the stories inspired by them and submit. I put a reminder in outlook on when to go to websites and check for postings of new theme lists.
Sue Uhlig:
Two, when you get a theme list, see if any of the stories you've already written fit a theme or can be easily altered to fit a theme.
Sue Uhlig:
Three, so you missed the deadline for Magazine A. It happens to all of us. As long as it isn't a deadline where the editor is expecting your promised piece, it's not a big deal. Let the story set a while. Go back and make it the best you can. Then look for other markets who publish similar types of stories. There usually are other magazines. If not, make yourself a file or notecard of stories you'd like to sell to Magazine A. Every time you get a new theme list from them, check those stories you'd like to target to them to see if any fit. It may not happen this year or next, but might the year after.
Cat: This is very encouraging. I admit to feeling like Rose sometimes, when I'm writing, and I just CAN'T seem to build a plot quickly.
Sue Uhlig:
Another comment on thinking of plots quickly. It takes how long it takes for you. More practice can speed you up. Being in the short story mind set is helpful. But it's not possible all the time.
Sue Uhlig:
When I have the most trouble with my writing is when I'm so busy with other things that I can't get my mind off of those things. I can stare at a blank page for a long time. This summer after traveling for two weeks is a good example. I spent precious writing time, not writing. I was in front of the computer, but nothing was happening. I'd reread what I'd written. Again. Nada. I'd switch to a different project. (It works for me to work on multiple projects.) I couldn't get going there either. Or the next project. I checked email, twitter, facebook. I worked on a conference where I'm volunteering. This happened for several days during my reserved writing time. I was beginning to feel like I'd never get back into those two projects that were the most important to me. I read some kid lit. I worked at mentally letting go of other stuff in my life. I started doing some brainstorming on my characters again and one day my brain switched into writing mode again.
Sue Uhlig:
So, the point of all that rambling is to say, if possible schedule writing time for yourself. Work on writing during that time. Write a book review. Ask your character questions. Brainstorm plot ideas. Read how to articles on a specific aspect of writing or something inspirational. Do something related to writing. Keep showing up. Eventually writing will happen.
Cat: I want to be published through an actual publishing house that is established, true, and....I guess real. Be that as it may, what do you think of self-publishing? I've heard of two houses, Author House, and Create Space. I feel like self-publishing is an author's instant-gratification way of getting their work out there, but what is your honest opinion of it? DO you recommend it, or veto it absolutely?
Sue Uhlig:
Oh, dear. One of my hot buttons. I agree with you. I've seen so much crap. Many self-pubbed projects really needed an editor. And if a picture book, a real illustrator. And a designer. And that's just to get the book ready to print. So unless someone really does the research, really understands all they need to do, really works on craft, can produce a product that doesn't shout "self-published," I'd say don't. Here’s an interesting article from a reliable site on the topic: http://www.underdown.org/self-publish.htm.
Londy: I noticed on your blog you mentioned you enjoy Christian fiction, and have written for Christian magazines such as Brio. I also saw you mentioned here about writing for Christian markets, so my question is, how does your faith affect your writing? Not just "Christian" writing, but all of it. How do you allow it affect your writing?
Sue Uhlig:
Whatever a person believes affects their writing whether they mean to or not. My heroes are not going to do something against my beliefs without suffering some kind of consequence. Even if that consequence is outside the story on the page itself.
Sue Uhlig:
How can I say this more clearly? In some cultures having wine with dinner is an every day occurrence. In others having alcohol in the house is absolutely forbidden. Someone from each extreme (and the fact that I say it's extreme shows something about my beliefs) would write totally different viewpoints of someone having a drink. I hate cigarette smoke. It stinks. It makes me cough. It harms the body. Doubtful I'd have a heroine smoke. But use it for a villain--definitely!
Sue Uhlig:
On the other hand, I know that overeating harms the body. But I love rich food, dark chocolate, fresh bread, so those will not receive much negative press in my writing.
Sue Uhlig:
Does that mean I'll only write about Christians? Or that all my writing must have spiritual content? Some people make that choice. I don't.
Okami: I was wondering, Sue, do you have particular age group you like writing for best, or one that comes out the most naturally? Have you had issues or problems getting a handle on the various age groups you write for or know other writers who have?
Sue Uhlig:
I wish I'd had more resources when I was your age and learning to write. I did it as a closet writer, with no one to talk to about it, and it was tough! Yea, for you!
Sue Uhlig:
I started out only wanting to write for adults. Then I took the ICL course. I loved it. But I needed more. And that was more connection with other writers, more feedback. I also needed my children to be older so I had more time. I started reading a lot of kid lit--mainly what my young children were interested in.
Sue Uhlig:
I wrote lots of preschool stuff. Lots of it schlock! I wrote what I thought were picture books, but they weren't. I think it's a lot like the piano virtuoso playing scales and simple songs. I needed to practice, practice, practice. Unfortunately, I submitted too early. And got lots of rejections. I didn't listen to ICL saying that nonfiction is an easier sell. I didn't study the markets as well as I should have. But eventually, I connected with other writers, and got feedback monthly on my stories. I learned from what they told me. I learned from what they did right. My craft improved. My kids aged up and I read older material. I started having sales for a variety of ages, first with magazines that my children had subscriptions to, so I was very familiar with what the editors wanted.
Sue Uhlig:
As my children aged, so did my interest in stories for that new age, but I still wrote for some of the younger ages. I love writing MG and teen short stories and have had lots of success there. Articles are fun, too, and where I made a lot of early sales, but fiction is my first love.Sue Uhlig:
But I wanted to do books, too. I discovered I loved kids' lit better than much of what is written for adults. It may be a mistake, but I'm not still totally settled down on age groups for kids' books either. I like both MG and YA. I read both. I also haven't sold a novel to a big publishing house. (My novel sale was an early mg novel to a small press and now is out of print.)
Sue Uhlig:
One of my friends, Lisha Cauthen, did a great exercise with us at a workshop. It was to help you determine what age group you were most comfortable with. She sold an article about it to ICL. Hold on a moment, and I'll see if it is still there. Ahh, here it is. http://www.institutechildrenslit.com/rx/ws05/asyoung.shtml I really challenge you to try what she suggests with another folktale. I definitely came out more middle grade. And it makes sense to me. Even my YA book material is more on the early YA or tween side. But I'd been writing for years before I did this experiment!
Sue Uhlig:
Conclusion? Write what you love no matter what age it is for. When you want to stretch, read lots of writing in the new area. Try it and see if you like it. See if it works. Just because it doesn't work now, may not mean it will never work.
Sue Uhlig:
On the other hand, I know there are writers who stick with one genre, and do it very well over and over and over.
Sue Uhlig:
It's so personal, that again I have to come back to "do what works for you."
Sue Uhlig:
Speaking of personal, here's a new quote I came across recently. "Write something so painfully personal you pray nobody reads it." -Chad Gervich I strongly believe a lot of award winning writers do this. Unfortunately, as one writer said, "I'm the victim of a happy childhood." I don't feel I have deep dark secrets to share. But I'm working on learning to share the secrets I do have.
Okami: I also struggle with nonfiction, making facts interesting and simple. I couldn't imagine tackling a nonfiction book.
Sue Uhlig:
I'd focus on nonfiction short pieces before attacking books. Do you get the Children's Writer? I've always loved looking at the contest write-ups and the pieces that won. This year I was asked to judge one--the science article contest. I was so glad I didn't have to make the final decision. But, it was fun writing that piece. I also like writing pieces about writing. I maintain a blog on my website. Those work for me. You may not have found your nonfiction niche, or as you say it may not be your skill area. And, let's face it, what interests you as far as writing at 23 may be different than at 33 and 43. My husband still reads novels. And there are tons of books out there written for men. And there are men's magazines, so yes, adult males still read!
Okami: I have issues with taking things that interest me and give them a unique or unconventional slant that hasn't been done do death.
Sue Uhlig:
Yes, it does. Of course the unique one would be the one I'd choose. But what is unique to me, is not necessarily unique to you and vice versa. Back to the science writers contest. I had the privilege of calling the winner and interviewing her. She was ready to give up on her writing, then I call her and tell her she won. That was a real boost and now she's not quitting. If I'd been the final judge, would I have chosen her piece as the top winner? I don't think so. But I wasn't disappointed in the winner or runner ups. The judges have more experience with choosing the winners. They are going to know what ideas they've seen more often over the years--I'm just comparing the entries in this one batch. I'm just seeing what's new to me.
Sue Uhlig:
So, yes, we try to give a piece a new and different slant when we write. If we haven't done much reading about the topic or in the genre we may think something is new that isn't. Some basic "normal" thing to us might be of great interest to others. I saw this in a local talk last summer. Lorri Cardwell Casey was speaking and talked about playing funeral as a child. She asked if anyone else in the room had done so. We hadn't. So her experience was unique. And fascinating.
Heather: I have so many ideas running around (and snippets of ideas) that when I finally have a minute or two to sit down, I have a hard time quieting my mind and choosing which "rabbit" to work on. Any ideas?
Mark: One of my challenges is staying focused on a single idea. Ideas pop into my brain all day long and each one seems better than the one I'm currently working on. Any advice for helping oneself stay focused and not become distracted by all the shiny new ideas swirling around? I struggle to finish things because I constantly chase after that newest (and subsequently, more attractive) idea. The advice I've gotten in the past basically comes down to: "Ignore those new ideas and make a firm decision to finish what you've started. Write the other ideas down but place them on the back burner." Unfortunately, that's easier said than done. How do YOU manage to stay focused on a project when other, newer ideas seem more tempting?
Sue Uhlig:
I think for me the excitement of taking an idea from kernel to finished story is pretty powerful. I like that satisfaction of a complete story. I like being able to look at what I've accomplished. I am somewhat of the mindset of finish what you've started. But I have half-started stories, stories that I typed a few lines, too. Sometimes I come back and finish them and sometimes I don't. But I save them all because I might finish it!
Sue Uhlig:
I think we're often distracted with other ideas because we don't know quite where to take the idea we have. We haven't made it real enough. We don't care enough about the character and his problem. A previous reply to someone talks about developing ideas. You might want to read it.
Sue Uhlig:
Perhaps you need to allow yourself not to start writing ideas. Spend a couple days, a week, writing down ideas, but don't move forward on any. Write ideas until you can't think of a single other one. Go back to your list with colored highlighters. Mark ones that excite you the most in one color. Ones that excite you, but not not as much as the first category, in another color. Ignore the rest for now.Sue Uhlig:
Go back to that first category. Does one exciting idea stand out? Take that one and work on it. Use the BIC method (butt in chair - Jane Yolen) and work on that idea. Hopefully, having noted all those shiny ideas down and getting them off your plate will free you up to work on this one idea. Look forward to the satisfaction of getting one story completed. I think you'll find that satisfaction of a story done outweighs the temptation of going off like a dog seeing a squirrel. (If you haven't seen UP, you won't be grinning like I am.)
claudette: Do you think that either chapbooks or ebooks will help take up some of the publishing slack for those who write much longer stories but who don't want to concentrate time and energy on novels? Is this one viable way to get several story ideas in progress simultaneously?
Sue Uhlig:
This is not an easy question. I fear ebooks that are what the writer considers a shortcut to publishing. It's the old vanity press idea. How many of you have read something self-published that wasn't very good? I know one writer who has self-published and is a very quality writer. I think he's an exception. That doesn't mean there won't be good ebooks published, but if they don't go through a rigorous editing process, many will not be very good.
Sue Uhlig:
When I think about long story venues, I know they are out there for adult markets. They might be a better fit for someone who tells long stories.Sue Uhlig:
On the other hand, I see student stories that are too long. I've written stories myself that are too long for magazines. Cutting winnows the story down to the essentials. Often I'm much happier with a story when I am forced to tighten it. I think sometimes what happens to writers is that their focus on the purpose of the story isn't clear. That means the story rambles. Details are included that are not necessary or are off topic. It's like when my husband and I get in the car to go to dinner, but haven't chosen where we are going to eat. We drive past restaurant after restaurant. We turn around and go back by one again. No, don't want to go there. We go another direction.
claudette: Thank you so much for your insight, Sue. I was thinking more on the slightly less than novella length stories for YA when I asked my questions. Some stories simply need more than 3000 words and aren't long enough for to go novella. Perhaps that's something to put on the back burner for later.
Sue Uhlig:
So who is publishing those? If no one or very few magazines, it may not be the right time for them.
ColoradoKate: One would be HUNGER MOUNTAIN http://www.hungermtn.org/submit/ I just copied and pasted a random YA from their website, to get a word count; it's 3400 words. A second is 2400; a third is 4000.
Sue Uhlig:
Thanks for sharing a resource!
Billie: All day long stories stream through my brain like mini movies with great detail and characters. Then I sit down to put them in writing and freeze. The visual in my brain will not translate to my writing. When I finally get bits of it written the magic of the story in my brain is lost. Any suggestions how to get them from my brain into writing so I can finish them?
Tracey: Do you have a handheld recorder? Or how about a cell phone? Most cell phones have recorders built in. I use both. I am usually driving when the muse hits. So I pick up my phone, hit record, & get my brain blast. Then I can sit down later a& hear what I was thinking. Works great when I go for a walk too.
Sue Uhlig:
Tracy has a great idea. But one thing to remember is that none of us get that beautiful image in our head onto paper the way we think we should. And if we think we have, when we read it the next day, we discover we really didn't. But that's okay!
Sue Uhlig:
Here are some things to do when the words are not coming.
Sue Uhlig:
Pick some aspect of your character or problem and write just about that. Don't worry that it's not story. Don't worry if you change it all later. It's just play. If you need to trash it, trash it.
Sue Uhlig:
I've heard other writers suggest setting a timer for ten minutes. You have to keep writing until the timer goes off, even if what you write is "this is so stupid, this is so stupid!" Eventually your fingers get tired of typing the same thing or your hand wants to make other shapes.
Sue Uhlig:
Sometimes when I'm stuck, I think, I just need to write one sentence. I may write it and hate it. Oh, well, write another sentence. And another. If that doesn't go anywhere or something inside says, "no, wrong direction," I space down and start writing something else.
Sue Uhlig:
Give yourself permission to write something that stinks. But get it written down. No matter what you write, you'll edit and rewrite anyway.
Sue Uhlig:
Try outlining. My outlining is almost nonexistent, but I know it works for some people.
Sue Uhlig:
Some people do character sketches. There are plenty of places online that offer sample questions.
Sue Uhlig:
Keep going to workshops and writing events. Something someone says may click for you.
Sue Uhlig:
I like writing exercises. I've never bought a book of them, but I've been in talks where someone has put us to work.
Sue Uhlig:
One I liked was:
Sue Uhlig:
I should have credited that writing exercise to Elizabeth C. Bunce.
Billie: When you are working on a story and have your details or notes ready to sit and write: Do you watch word count as you write? How do you organize the details for reference while writing? Do you review details or outline before rewriting? I find these details trip me while writing the story or editing.
Sue Uhlig:
I don't usually pay much attention to word count as I write. Sometimes I start getting worried that I'm going too long and will glance at it, and then think, wow, I've got plenty of room left. But that's the experience of writing fairly tight now. Earlier, I'd say I had a lot of too long and had to go back and tighten.
Sue Uhlig:
Of course, recently I was working on an article and was afraid I wouldn't have enough to say. I knew the categories of things I was going to write about. I start writing and writing and realized I was way over word count. Then I went back and said, this section and this section could each be pulled out for sidebars. That brought my word count close enough that tightening did the rest.
Sue Uhlig:
RE: organizing details -- With a short story if I have done some research, I've probably typed up my notes from the various sources, so at one level they are in my head. I write my story, then go back and check my notes and see what I need to fix or add in. So that's the reviewing details before rewriting.
Sue Uhlig:
For an article, if I'm going to be using lots of quotes, I'll have those quotes available to me as I write and can copy and paste them into the article where I need them. In my notes file, I highlight in color the quotes I've used. When I get done with the first draft, I'll review all my notes and see what I didn't use--what's not highlighted.
Sue Uhlig:
If the article won't have quotes or very few quotes, I'd probably reread my notes again, then start writing. After I have my first draft written, I'd review my notes again, checking for accuracy, for things I've missed, etc. Again, I might highlight facts I've used at this point. Easy then to see what I've left out and I can decide whether I want to include it or not.
Sue Uhlig:
As far as outlining, I do it one of two ways--and it wouldn't really look like an outline. Say I'm writing about an animal. Of course, I'll have an intro and a conclusion--that's given so I wouldn't write that down. But I might make one word outlines of what the other paragraphs will be. For example: where
Sue Uhlig:
There are two types of editing. Editing for content and editing for making it flow, catching grammar errors, tightening, etc. Don't do the latter, until the content is right. :-)
omalizzie: I was curious to know what prompted you to use your maiden name for your books? Were you already established before you were married or maybe you write under your married name in another genre? What are the advantages of using your maiden name as opposed to your married name...eg. anonymity?
Sue Uhlig:
Short answer, I wanted to differentiate adult material from children's.LindaOpp: I know you're not supposed to edit as you write. But I do anyway, and it slows me down. Do you have some techniques for making yourself write the first draft without stopping? A related question is how do you use events and people from your own experiences as plots and characters for your stories without fearing that they will recognize themselves and be mad at you? Or be annoyed because you took the event as a seed for your plot, and then took it a different direction? I'm terrified of insulting the real people in my life who might not understand.
Sue Uhlig:
I'm one who does edit while I write, not complete editing, but I'll write and when I get stopped or reach the end of a scene or chapter, I might reread what I've written and do some minor editing. Often, though what works best for me is the next day, I reread what I wrote the previous day and do some editing then. That reminds me of where I was in the story and after I've done my editing, I write more.
Sue Uhlig:
I've definitely taken events that my children or friends' kids have experienced and written about it for a short story. I tell them it is based on what happened to them, but not meant to be what happened to them. I don't try to write it as it really happened, but how I imagine it could happen. i.e. a friend tells me her niece got fired from a job because she gave too many drinks away, but the kid didn't understand what she was doing was wrong. I wrote a story just off of that information. I had my character go to her boss and apologize and ask to pay for the drinks she gave away. The boss is impressed so takes her back.
Sue Uhlig:
I guess if I had someone in my life who would be upset about me fictionalizing something they told me about, I wouldn't use what they said. That said, I don't personally use them as characters.
ColoradoKate: Which approach do you think works the best for improving one's writing:
1) Planning and writing lots and lots and lots and lots and lots, even though it doesn't all get polished (but not self-indulgently; still keeping craft in mind, and using reminders like your sticky-notes concerning what you'd learned from critique partners)? Or...
2) Planning and writing fewer pieces, and then rewriting, revising, and polishing them to within an inch of their little lives to make them as perfect as possible?
(I should say that I use one of these approaches and that I'm thinking, hard, about switching to the other.) Or is there a happy medium?
Sue Uhlig:
I lean more towards number 2. You learn so much in rewriting. But say you write and rewrite and revise a piece and get frustrated with it. Move on to something else. Come back to the other one later and see if you are still interested in it. Later may be months or years. Okay, now I want to know which method you are using, Kate!
ColoradoKate: Heh. I've always used approach #2... but I don't write much, really, or not much new stuff anyhow, because I get hung up on revision. (I'm trying to avoid saying "obsess." ) So I'm thinking approach #1 might get me moving more, get some energy going. And I'd still revise, but perhaps if I had more pots simmering, so to speak, I wouldn't revise so dang leisurely!
Sue Uhlig:
Set yourself goals. i.e. I'll write a story by Tuesday of each week. Wednesday-Friday, I'll revise last week's story.
ColoradoKate: I think that is what I'll have to do.... This business of waiting 'til I'm in the mood just isn't working for me.
KimP: I have one more question that I struggle with in particular with one of my stories I have invested a ton of time writing and revising. My one particular story is a pb of a sweet, fun sibling story with a play on words for the title. The first few critiques I had on it were very well thought out and pointed out many flaws. Then as I revised and submitted it to a few other people both learning to write and already published, the theme of my story seemed to get changed by at least 2 or 3 of those critiques - I was told I had the start of an over the top fun picture book and so needed to punch up the humor, then I was told I needed to figure out a 3 or 4 word fun-filled phrase that could be repeated. I became so frustrated trying to turn my story into the vision of what others were telling me would make it publishable that I haven't looked at that story for at least 12 months. I love that story. I feel the story has so much potential but now I am not sure where the potential even is. So it sits with me trying to ignore it calling my name to give it another shot. So back to the original question: where to accept what someone feels should be changed for a plot or a character and where to say no I don't feel that works for my story?
Sue Uhlig:
Very good question. Don't let someone in a critique group change your overall vision for a story. If something someone says lights off fireworks in your brain and excites you to change it, go for it. You don't want to write something you aren't passionate about, just to please someone else. It's different with editorial suggestions. You have to think about their suggestions harder. But just because an editor suggests something doesn't mean you have to do it. I remember going through a number of processes with Marileta Robinson on a Highlights story. She made a number of suggestions. Some I was red-faced about and fixed. Others I agreed with and changed. Another one, I disagreed with and told her why. She let me keep what I wanted.
Sue Uhlig:
So go back to your original version of your story. Think about what excited you, inspired you, and work on your vision of the story. Take what you've learned since to make it stronger, but aim for your vision. With critiques you take the ones you agree with, that you know are correct. If three out of four tell you something isn't working, they may tell you three different ways to fix it. The main important thing is you know it isn't working and you need to find a way to make it right. Don't make changes, just because someone says you should. (This excludes cut your adverbs; make it more active; you're telling, not showing; vary your sentence structure type of advice.)
Sue Uhlig:
And, yes, I've had people tell me, your character is going to have to do this or that, but I know that's not what my character would do.
Sue Uhlig:
One last comment on this topic. Our first reaction to a comment is not our best guide when our first reaction is "oh, that's just wrong." Have your pity party in private, give yourself some time, then come back and take a look at those comments that hurt with less emotion. Was there something valid in what they said? No, I still feel that's the wrong direction. OR Yes, I have to admit they have a point. OR I'm still not sure. Each reaction will lead to different action on your part.
Okami: So what I'm trying to ask is-Have you ever had problems with letting the writing flow? How do you keep the frustration at bay when you start revising? How do you know when you need to change your story to make it workable? Have you sometimes just taken a leap of faith on something you've written? Did it help in the long run, even if sometimes it didn't work?
Sue Uhlig:
Of course, I've had trouble getting the writing to flow. How do I deal with frustration when I start revising? With encouragement of other people. Over the years I've found great writers to bounce ideas off of, to exchange critiques with. I've grown to trust these writers and their opinions. They tell me what they like in my writing, they tell me what isn't working and make suggestions on improvement. Sometimes it's hard work to find the write group of people. I like face-to-face groups best and have found most of those over the years through SCBWI. I've also done some online critiquing exchanges. Knowing these people/friends believe in me, helps when I'm frustrated. Their suggestions inspire me, challenge me. After a group meeting I'm excited to revise.
Sue Uhlig:
How do you know when to change your story? First, is it working for you? If not, revise. I love it when I go back and read a story I've written and get that feeling, "did I write this?" versus "oh, I need to fix this, I need to fix that." When you see nothing to change, share it. Does it work for anyone else? If not, revise. You need multiple opinions here. Sometimes you need to analyze why they don't like what they point out. Their outward reason may not be the real reason. If what they say, just depresses you, either it's not the right group, or this story needs to wait until you can look at it with fresh eyes. That might take a year or two. You may need to learn more craft meanwhile. I go back to old stories that I've written and see things that now I tell me students to fix. If I like the story enough, I fix those things. So, say you've done all that and you believe your story is ready to submit. You find appropriate markets. You submit. Do you get standard rejections or personal notes or even the check box on some rejections say something like "we had many good stories for this issue, please try us again?" If you're only getting standard rejections, the story is not working. Or not working right now. Consider getting feedback from a professional at a conference or workshop.
Sue Uhlig:
You didn't state it as a question exactly, but I wanted to address your query dilemma. Who are the people giving you feedback? Published writers, editors, agents? Not all opinions are equal. There are agents and authors who do "query fail" comments via twitter or blogs with actual queries. I find those interesting and helpful. Some sites offer critiques of queries. If no one "gets" you, you aren't getting "you" across. Or your story across. I know there are lots of resources about query letters, but of course I know how to find what I've said about it easier than anything else. Check out this blog post and the succeeding one. http://www.susanuhlig.com/2010/05/mind-your-cs-and-qs---part-one.html. Maybe it will give you some tips or useful ideas.
Okami: Have you ever had stories you know are good, but they're too long for magazines, no matter how much you cut, and you can't flesh out into novels because it's too slight or something?
Sue Uhlig:
I'm the queen of cutting! I start looking at anything that doesn't focus on the main point of the story. Is it needed? No, rip it out. Can something be said shorter? Tighten. Do I need all these details? Can I get rid of a character? Can it happen at one time instead of in a couple scenes? I look at individual sentences. Is there a way to write it shorter? Ahh, two words instead of five. One, instead of three. But it's possible your story problem is too big for the genre. If that's the case, how can you narrow down the problem?
Okami: Could you talk more on how to be empowered by learning?
Sue Uhlig:
When I talk about reading, I think two different parts.Sue Uhlig:
1. Read on craft. Read books on craft. Read blogs and websites by authors, editors, agents. Read articles. Read about plotting, character development, voice, revising, etc. Sign-up for rss feeds for some of the authors, editors, agents whose posts you find especially helpful. If you try one for a while and it doesn't work for you try, another.
Sue Uhlig:
Some of my favorites include:
Sue Uhlig:
2. Read books in the genre you want to write. I don't mean a few. Or 20. If you read 100 books in the fantasy realm by 100 different authors, you won't be imitating one author. I've heard editors say, to write a picture book read 1000 picture books.
Okami: Five out of ten folks preach to me about "Reading dust jacket flaps or the summaries in back of paperbacks" and I'll get how to show my story in a compact way. But I did that, and it doesn't help.
Sue Uhlig:
Here's a suggestion.
Okami: One of the published writers I showed my last three tries at a query letter to kept telling me I was focusing on feelings too much and I should be more focused on action. How you can show action without emotion? Why are feelings considered "Boring" just because my stories may not necessarily have battles, explosions, etc?
Sue Uhlig:
There are lots of great stories without battles, explosions. I just read the fantastic Marcelo in the Real World by Francisco X. Stork. When telling a friend "you should read this book," I told her it was a cross between Speed of Dark (Elizabeth Moon) and a John Grisham novel. My friend has read both, so was instantly intrigued.
Sue Uhlig:
Here's what the last paragraph of the jacket flap says: "Reminiscent of The Curious Incident of the Dog in the Night-Time in the intensity and purity of its voice, this extraordinary novel is a love story, a legal drama, and a celebration of the music each of us hears inside." The preceding paragraphs all have action and emotion. Look at the verbs--I'm bolding them: Marcelo "hears music nobody else can hear," his father "challenges Marcelo to work in the mailroom of his law firm," Marcelo meets Jasmine and Wendell, "he learns about competition and jealousy, anger and desire," "but it's a picture...that truly connects him with the real world...and what he can do to fight."
Sue Uhlig:
So I don't think feelings are considered boring. But someone just feeling IS boring. We want action and reaction based on feelings.
Jan Fields:
I want to add to the problem with queries that are too much feelings and not enough action. Feelings are ubiquitous. You can have a million different stories where the character struggles with feelings of hopelessness, then begins to believe in himself only to be emotionally crushed. Then when he's hit rock bottom emotionally and is ready to quit, he discovers hope again.
Jan Fields:
That set of "feelings" could be turned into a hundred different novels. The feelings fail to tell us what you're actually DOING in your novel. The feelings aren't what makes your novel yours...what you do with them is what makes your novel yours. Every character takes a different path of situation/choices/actions/consequences/new action/consequences. And that specific path of what actually happens is what defines your novel as being yours alone.
Jan Fields:
So the more you talk about what actually happens (in your query letter), the more you make your novel sound different from every other novel the agent/editor sees. The more you talk about feelings, the more you make the editor/agent feel as if he's seen it before. Because he has. He's seen those exact feelings play out a thousand different ways. So he's looking for what you bring to that book that no one else does -- it's not the emotions where yours becomes your novel alone, it's the story.
Okami: Finally, is it really possible to have a story that has wide appeal, but that you still like?
Sue Uhlig:
Yes, I think so. Does that necessarily mean you or I are ready to write it? No. I wrote 2 adult novels that never sold. I wrote an early middle grade novel that sold to a very small press. It didn't do well. I've written a mg mystery that I'm not trying to market any more. For many writers the first horse out of the barn doesn't qualify for the race.
Okami: I'm sorry this sounds like I'm being flaky, but I'm no good at pitches, this is why I'd never be a good journalist, I can't ask anything in 10 words or less, that's just not me.
Sue Uhlig:
Then you need more practice. Make it a game! Okay, today I wrote a 50 word summary. Tomorrow I'm going to look at it and reduce it by 5 words. Or write it in outline format:
Sue Uhlig:
Don't feel nervous. Feel challenged. Anything worth doing is worth doing well and takes a lot of hard work. If you don't want to put in the work, you won't have something worthwhile. There are very few exceptions to this.
Cat: Sue, and Jan, thanks for your answers. I have such a hard time with queries, and psyching myself out. I KNOW if I could just see them as a challenge, or FUN, they wouldn't be half so intimidating. It's just knowing, that may be the first (and last) sight an editor ever has of your book. FRIGHTENING!!
Jan Fields:
I find it helps *me* to google "queries that worked" or "successful queries" -- variants like that. THen read the queries. These days agents sometimes post the queries they liked best. Authors sometimes post queries that got them the book. And I'll read a bunch of those, then write mine with that "success" kind of fresh in my head.
Jan Fields:
Agents aren't necessarily looking for perfection. They mostly want concise, clear queries that tell them what HAPPENS (what the characters DO) in your story. They want to see that you actually have a plot (not just stuff happening), that it's purposeful (so we'll get a feeling of progression toward the end), and that the characters are doing things that make sense. Again, if you read those "queries that work" with some of that in mind, it might help too.
Jan Fields:
Unfortunately, if you totally can't write a query for your book...I mean you totally cannot make your story action sound purposeful and sensible...it's possible the problem isn't with the QUERY.
Jan Fields:
But at the same time, writing queries is scary (so much rides on making them coherent and they really are kind of a test of whether the book works) and it makes a lot of writers kind of stiff, formal, and wordy. So to overcome THOSE problems, reading queries that work can help.
ColoradoKate: You've talked about keeping notes about ideas, and planning.... Then what? Do you draft lots and lots and lots of stories, and then just polish the ones that seem to be working? Or do you work on one story from start to finish before really concentrating on the next? How many stories do you tend to be working on at once? How many stories do you write in an average month, would you say? I guess I'm asking about your working style, since you're so successful with the way you do things!
Sue Uhlig:
I'm working more on novels at the moment, though occasionally I take a break and write a short story or article. I have two novels I'm in process on getting written. They often take turns nagging me. Or when I'm stuck on one, I go to the other. I know this wouldn't work for many of my writer friends. They ask me how I keep the voices straight. For me, the two characters are so different, that I don't mix them up.
Sue Uhlig:
I also have a completed, critiqued, rewritten, critiqued, rewritten novel I'm trying to find an agent for. I also have two completed, critiqued, rewritten, critiqued ones that need more rewriting. They are waiting for me to have time. I'll probably need to finish the two above before I can focus on them again.
Sue Uhlig:
I have a picture book I'm trying to sell. It took me about 6 months before I was happy with it enough to try to sell it. It also went through a number of critiques and a bunch of rewrites. I didn't work on it every day. I'd work on it and set it aside. I'd reread and tweak. I'd get feedback. I'd rewrite. I'd let it sit awhile and try to look at it with fresh eyes.
Sue Uhlig:
With short stories, it's very different. When I'm in the zone, I can write the first draft in less than an hour. When I haven't been writing short stories, or if I keep getting interrupted, it can take days. Now, this all means I'm starting with a firm problem in mind when I start writing. I know a bit who my character is and I know where we are at the start of the story. I may not know exactly how I'm going to solve it, but I know the direction I want to take with it. i.e. it's for a religious magazine so it's going to involve spiritual help. I get that first draft done. I let it sit. I rewrite as necessary. At this stage I don't necessarily get a critique, but I definitely did for many many years. I look at markets and theme lists and see who might be interested in it. This stage can take a long time!
Sue Uhlig:
Looking at markets and theme lists makes me think of stories I've written that haven't sold. I reread ones that I think might fit a market. Some aren't a fit and get to wait longer. I rewrite or slant ones as necessary and submit. This year my goal has been to submit two stories a month. I'm not meeting that goal the latter part of this year. Sigh. The downside of working on so many projects at once.
Sue Uhlig:
Of course, sometimes a theme list inspires the story, I get it written, go through my stages and get it sent out. Maybe the editor chooses it, maybe she doesn't.
Sue Uhlig:
Right now I don't have kids in the house. When my girls were home, I was at the elementary school a lot. I lived with them through junior high and high school. They or their friends or being at school either as a volunteer or subbing as an educational assistant gave me lots of fodder. I really focused on short stories. Now I'm more focused on novels. That doesn't mean I don't still enjoy that satisfaction of writing a short story and having a project done in a short amount of time.
Sue Uhlig:
As an instructor for ICL I have to resist the urge to take story problems I suggest for my students' work and not write them up myself. I DO resist, of course.
Sue Uhlig:
Not a quantitative answer. Sorry.
ColoradoKate: Thank you--it does help!
Sue Uhlig:
Good, I'm glad it helped. I thought I'd end today with a quote. "I think ideas buzz about in the air like tiny mosquitoes. Many 'land' on you and get brushed aside. But it's the ones that take a 'bite' out of you, the ones that really get into your blood that make you the most passionate about writing." - Dian Curtis Regan, author
Cat: Where do you go to find these cool quotes? Just curious.
Sue Uhlig:
I have a quote file, well, two. When I see a quote I like or can accurately catch what someone says in a talk, I throw it in. One file is specifically for writers. Because it's on my computer, I can search for a word to find something appropriate. On my website, www.susanuhlig.com, I have a quote of the week.
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