Category Archives: Writing

Author Mark Reynolds: Interview on the “Dr. Paul’s Family Talk” radio program.

Chasing the Northern Lights

 

Author Mark Reynolds appeared on the “Dr. Paul’s Family Talk” radio program on the new Impact Radio USA internet station to discuss his most recent book, entitled, Chasing the Northern Light.

According to Mark’s Amazon page: “Fearless twenty-something Carter Boyd is in love with life and the extreme thrills that it provides to him. When he thinks he’s tried it all, fate provides him with one more, perhaps final, opportunity that he simply cannot pass up–to actually pursue and catch a little-known virus, dubbed by its underground chasers as the “Northern Light”, that threatens the very life of its host within an indeterminate period of time. And yet, it contains psychic properties that come to bear as the virus manifests–properties that allow the recipient to see their “truth”, and to discover a way in life that leads them down the path toward their own perfectness. For Carter, who is already running from personal demons and desperately looking for an out, the draw to pursue it is too great. In the shadow of Carter’s quest, a military viral specialist and a United States Senator have been working a thirty-year-old secret agenda to keep it from spreading. Carter’s chase follows him through a series of life-changing experiences with help from unexpected sources that lead him to a final confrontation, one that might deliver him from what he fears the most to that which he never knew he could do without.”

In addition to discussing Chasing the Northern Lights, host Paul Reeves asked Mark about his current projects, two novels, a book for children in collaboration with his wife who is a photographer and will be illustrating the children’s story, and a screenplay!

You can reach Mark through his Facebook page at: https://www.facebook.com/Mark-My-Words-Too-The-Mark-Reynolds-Author-Page-143155692767514/

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Be sure to listen to IMPACT RADIO USA for upcoming author interviews and more!

IMPACT RADIO USA provides the best in news, talk, sports, and music 24 hours a day, 52 weeks per year. Launched in the spring of 2017, our goal is to keep you as the most informed Internet Radio audience.

As we are continuing to add content on a daily basis, please feel free to click on the “LISTEN LIVE” button to hear us 24 hours a day.

Beginning on Monday, July 3, 2017, “Dr. Paul’s Family Talk” show will have live broadcasts 3 times per week on Monday, Wednesday, and Friday at 11:00 a.m. 

http://www.impactradiousa.com/

ImpactradioUSA 1

 

Memorable Characters

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The one thing that makes any story for me stand out is a memorable character. They don’t have be heroic, or even that good. But they have to be compelling and as an audience member, you have to want to know what happens to them. So as a writer, how can you make your characters memorable?

First, I think you should be able to say things about them. Like for example, they’re kind, smart, sensitive, or tough, impulsive, and moody. You can identify traits about them right away based on what you’re seeing with them in the story. They make you care about them not because you might like them, but because you want to see how they will handle whatever the story throws at them.

Second, you learn things about them. You learn about their past, their likes and dislikes, their problems, their demons, and how they feel about other characters. Because when you learn things about them you get a picture of who they are, where they’ve been, and where they’re going.

Recently, I started watching the television series ‘Grantchester’, a mystery series set in the 1950’s in a small village in Cambridge, England. The main character is Sidney Chambers, a young handsome vicar who is a bit shy yet sweet. But we learn that he’s haunted by his war-time service, and an unrequited love for a woman. What makes Sidney compelling and memorable is that he’s not perfect. He doesn’t utter empty platitudes but is cautious with his words. He’s also cautious with his feelings, perhaps too much. So we have a character who could be made out to be a paragon of virtue and perfect in every way but instead, we have a real character with good and not-so-good qualities who has a lot of potential to grow.

On the other end of this spectrum would be Tony Soprano, from the HBO television series ‘The Sopranos’. Tony is a mobster running a strip club in New Jersey and head of a crime family. So he’s not what you would refer to as a good person. He breaks the law and has people murdered. He lies and cheats and is brutal in how he deals with things. Yet in the first episode we see him having a panic attack and subsequently seeing a therapist. So this shows he’s vulnerable, and able to feel things though not deal with them very well. It’s this dichotomy that makes him memorable and compelling because we know things about him, see how he interacts with the world around him, and see his conflicts.

So to make a memorable character you want to show the good, the bad, and in some cases, the ugly. You want your audience to learn about them and because of that, your audience will want to know what happens to your characters in the story. And that’s what not only makes a character memorable, but what makes a story memorable after it’s over.

Changing POV

changingPOV

Changing POV is not head-hopping. The term ‘head-hopping’ means that a POV is changed so much in a scene that the reader is being forced to hop around so much they’re dizzy with it. And because of that they’re confused as to who is doing what, which is something you never want to have in your story.

So, how do you avoid that if you want to change POV in a scene?

First, make your character’s voice distinctive enough so that when you change POV it’s a seamless transition. This means that when you’re in a particular character’s POV you’re using a very distinctive voice for them, and I’m not just talking about the way they speak in dialogue. Each character should have a distinctive way of thinking and acting in addition to speaking. And you don’t need to make the differences super-obvious or extremely-different unless your story calls for that.

Two, understand what you want to do in a particular scene in terms of action and what information you want to reveal about the plot and characters. Sometimes it may be best to stay in one character’s POV because if you go into another character’s POV you’ll reveal a plot detail before you need to. I did this in the very first scene of my novel-in-progress because if I had gone into my other character’s POV I would have spoiled the key surprise plot element, so to speak.

Three, think of the development of the scene in a cinematic way. When you watch a movie for example, most of the time there are cuts within a scene to show the reactions of other characters to what’s happening. So if you feel that need to cut to another character in your scene, then you’re looking to change POV.

Now, I know there are what I call POV-purists who believe in one POV per scene and will only change POV with a line or scene break clearly showing that on the page. And that’s perfectly fine as I’ve read plenty of books written like that I enjoyed. But please don’t feel like you have to do that. Maybe the thought of changing POV in a scene is daunting or you’re not sure of how or when to do it. Don’t be afraid to give a try and in the meantime, study other writers and see how they do things.

Most of all, don’t feel like there is a set of rules governing POV that you can’t break unless you want to go to jail. Trust me, you will not be jailed for changing POV in a scene. If you do it and someone says you’re head-hopping, then you’ll need to look at your work more closely to make sure your changes in POV are seamless. But trust me, it can be done if you want to do it.

 

Deep POV

What The Bandit can Teach Us About Writing

by Kenneth Lawson
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This last Sunday I went with my son back in time.

40 Years ago, this week.

May 27, 1977.

I was still in high school. The movie was “Smokey and the Bandit.”

Burt Reynolds, Sally Fields, Jerry Reed, and Jackie Gleason as Buford T Justice.

The epic car chase across three states that ended in a big beer party. But that’s not the real story.

The real story is the fact that I saw this movie when it first came out in 1977 while I was in High School. Since then, I have seen it probably more times than I can count. My son has grown up watching this film we have seen it numerous times together over the years. It’s the first time we’ve seen it the way it was originally presented on the big screen.

The movie is just as silly and in some ways as stupid as it was 40 years ago. The now “Classic” scene where Burt Reynolds and Sally Field jumped the bridge that was out is just as good as ever, even better on the big screen.

But why does anyone care about a chase movie made 40 years ago?

Characters.

Afterward, in the car, my son and I discussed the film for about 10 minutes. We picked a picked apart the plot or the “sort of plot” and the silliness of the whole thing. The likelihood Sally Field’s character did not recognize Jackie Gleason’s character on the CB radio it’s pretty slim if she knew the family well enough to almost married the stupid son. Then she would have recognized his voice over the CB; having probably heard it there many times before. All that aside, the movie still works pretty good.

But that’s the reason the movie works is not the story; the story sucks. What works is the characters. The characters are memorable. Burt Reynolds character the Bandit is likable he’s Every Man’s anti-hero he just doing the best he can and along the way he manages to do things that other people have not been able to do and mostly have fun doing it.
Jerry Reed is also excellent as the Snowman. Snowman is dragged into this crazy bet, he asked Bandit why we want to this silly thing; Bandit explains;

“‘For the good old American life: For the money, for the glory, and for the fun… mostly for the money. ”  — Burt Reynolds as Bandit in Smokey & the Bandit, 1977

You may wonder what this has to do with writing?

Theses characters resonate they speak to us, we can relate to them. They’re doing something that we would like to do. Granted, the story needs work, but that’s okay. In this case, it’s not so much about the story.

Face it, the actual story of “Smokey and The Bandit” is pretty thin. There are holes in the plot we could drive both Bandit’s Trans Am and Snowman’s tractor through. But that’s OK.

This story is “character” driven. We like Bandit, and “Frog” and Snowman, in spite of ourselves we like Sheriff Buford T. Justice. That’s why it works. It’s not so much the grand adventure, or the danger. It’s watching them do stupid stuff and getting away with it. As a teenager, in 1977, I probably wanted to be Bandit so bad I couldn’t stand it. To drive a Bad-Ass car, get the girl, and generally, do whatever the hell I wanted. That’s what these characters embody.

So must you write clones of Bandit, and Snowman, and Justice?

No. But your characters should be something either your readers can relate to directly, or in the case of Bandit, someone they can wish they were.

Bigger than real life. Characters that take over the story. They should ideally be relatable on some level, either age, sex, or occupation, or situation.

But above all, they must be memorable. Granted the movie has the added advantage of “Star Power” The actors bringing the characters to life. While we can’t have a young Burt Reynolds playing our hero, or probably not even the old Burt Reynolds, we must build our characters in ways that make them memorable, and for our readers to care what happens to them.

If we build good enough characters, then the audience will go along for the ride, silly as it may be.

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Kenneth Lawson was born in 1961 in Western NY.  He was born with a heart disease, called Transition of the Arteries, and is believed to be the first in the US to survive the procedure called the Mustard procedure.

He started writing as a teenager. Today he lives in Central Virginia with his wife of 30 years and the youngest of their four children.

Kenneth enjoys classic movies and television, and a variety of music. When not enjoying movies, he can be found writing his eclectic mix of science fiction, mystery, and time travel.

Find Kenneth at his blog


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Write Your First Novel Part Three Plotter vs Pantser: To Outline or Not to Outline…

“Nora Roberts says she never knows where her story is going, that she sits down at the computer to find out.”

Writers, when they aren’t writing, love to talk about writing. It is, after all, our passion. A favorite topic of these discussions, and one that garners a lot of questions is “plotter vs.  pantser.” Do you outline your story before you begin to write or do you run with the idea that pops into your head without a care?

The discussion on how to construct a novel, outline or write without a plan, is one that elicits many opinions. There is no right or wrong way, the method used to write a novel is subjective and personal.

I admit to being a pantser, a writer without a plan. An idea will come to me, and I feel compelled to begin writing immediately. I formulate the beginning and end of the story in my head and work out how to get from Point A to Point B as I go along. Main characters come with the idea, and secondary characters materialize out of thin air as needed.

“Romance author Jane Graves, who identifies herself as ‘a big time pantser’ says ‘I’m cursed with not being able to see the good twists and turns of character and plot until I’m in the middle of writing the book. I can have a sense where it’s going, but absolutely nothing comes alive until the words start going down on the page. That’s when I start having revelations and seeing things I never saw at the synopsis level. For me, it’s kind of like remembering the words to an old song. If you ask me the words, I can’t tell you. But if the song comes on the radio and I’m in the middle of listening to it, I can tell you what comes next.’”

Pantsers usually cite one main reason why they prefer not to outline. They thrive on the unrestricted flow of creativity, which not having a plan gives them. Personally, I enjoy experiencing the story as it unfolds naturally. I don’t want to know what my character’s favorite food is or exactly where a murder is going to take place until the scene evolves. I prefer the characters surprise me.

Another reason is the tedious process of plotting out the story before writing. Many pantsers, this one included, feel very confined by a detailed plan. Outlining is akin to writing the story prior to writing the story.

There are problems with writing without a plan. You can write yourself into a corner, discover you have a major plot hole or realize the beginning of your story may be the middle and you have to develop further back into the story instead of going forward. A major criticism of this writing process is that without planning it often requires considerable rewrite to attain plot cohesion.

I suspect pantsters will admit they do some planning. Complex plots and numerous characters can be confusing. Some writers will sketch out chapters or write down key plot points as they develop them to keep track. I admit to doing both, I am notoriously horrible at remembering character names, so I keep a character list. I have also discovered that creating a chapter list, noting the significant plot events of the book helps keep me focused. My chapter notes are fluid, changing as the story unfolds, and my brief notes perhaps only a cryptic “ body discovered” but does help with keeping an even pace throughout the story.

Plotters, or outliners, on the other hand, thrive on detail. They wouldn’t dream of writing, some quite meticulously, without planning the entire story. Spreadsheets, index cards, journals, loose paper, word docs, all serve as platforms for the all-important outline. During the years JK Rowling was publishing the Harry Potter series, she gave a television interview where she discussed the large spreadsheet she created to plot out and track events in her epic novels. The enormous undertaking required to produce a series like Harry Potter underscores the plotters’ belief in planning. Multiple characters, plotlines, and volumes require attention to detail and even as a pantser by nature, I can see the value of plotting.

One of the serious issues that plague many writers is their inability to finish a project, short story or novel because they lose track during the middle. While a beginning and an ending are often known, how to navigate through the story to reach a conclusion often eludes them. Planning each scene, or chapter can help with this issue by providing the impetus to construct a solid middle.

There is a downside to plotting. I had a conversation with a writing coach, who loved the index card process and told me that I must write my story on the cards and then write my first draft. I didn’t. Writing a detailed outline, including every scene, every nuance to me defeats the point. When the last index card includes the words, ‘the end,’ I’ve already written the book. I don’t choose to write it again.

Also, plotting to such detail boxes one into a corner. If you have an epiphany in the middle of writing based on a detailed outline, you have two choices. Chuck the outline or rewrite it. Rewriting is tedious and time-consuming and unnecessary.

I suspect most of us are a combination of a plotter and a pantser. How much of each of these processes we embrace depends on our need for direction. The one thing I have noticed is our predilection to choose one of these styles seems to follow how we go about our daily tasks. Some calendar everything, make copious lists, some (like me)  ask, “Was that today?” What is important is choosing the writing process that offers us the most productivity and the most joy.

 

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Quote Resources:

http://www.autocrit.com/editing/library/plotter-or-pantser-the-best-of-both-worlds/

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Write Your First Book  Part Four: Plotting will be posted soon.

Writing Your First Novel Part Two: The Question of Genre

Writing Your First Novel

Part Two

The Question of Genre

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“Readers will stay with an author, no matter what the variations in style and genre, as long as they get that sense of story, of character, of empathetic involvement.”  — Dean Koontz

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From the first children’s book, comic book, or novel that we choose, we begin to develop our sense of what type of story we are drawn to read. For me, I was intrigued by mystery and science fiction at a very early age. In my teenage years, romance entered the mix, and I soon found that my favorite stories to read were combinations of these separate genres.

In Part One of the Writing Your First Novel, we discussed the importance of reading and how it impacts your writing skills. One of the strongest influences of reading is an enhancement of vocabulary. Many of us tend to use the same words in our everyday speech. Reading will expand your selection of words and enrich your writing. Reading also provides an awareness of sentence and story structure and correct grammar. Reading current work allows you to discover the latest trends in the genre can assist in helping you decide the focus of your novel.  Choosing popular works within a specific genre allows you to explore the latest trends and can help you decide the focus of your novel.

Merriam-Webster defines genre as “a category of artistic, musical, or literary composition characterized by a particular style, form, or content.” Fictional genre is further categorized into specific topics such as romance, mystery, science fiction, historical, contemporary or young adult among others.

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“I had always wanted to be a writer who confused genre boundaries and who was read in multiple contexts.” — Jonathan Lethem

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The traditional brick and mortar publishing houses have long categorized novels into specific genre descriptions. Even though there are numerous sub-genres under those headings, a cozy mystery or detective novel will still be displayed under the ‘Mystery’ banner in a bookstore or library. Based on statistics and marketing plans, it proved easier to control the advertising dollar and consumer focus if novels fit a certain niche. Shelving of books in a retail store is coveted and easier to acquire shelf space for a book in the single mystery genre rather than one in the mystery/science fiction/romance genre. What area of the store do you place a book of mixed genre? It’s a publisher’s marketing nightmare.

That issue has changed considerably with the advent of on-line publishing and search hashtags which have allowed authors to market their works in multiple genres. When genre lines are blurred, the only limitation a writer has is their imagination. Shelf space is no longer a consideration when as Lethem says, “boundaries are confused.”

The question you should ask yourself is what genre do you feel comfortable writing. I have seen numerous writing ‘experts’ say you should write what you know. The problem for me is that I love science fiction and murder mysteries. But, I have never been in space, and I haven’t committed murder, so I don’t have those experiences to draw from when writing. Author John Grisham is a lawyer and his stories center on his experiences practicing law. Not all of us are afforded the luxury of writing with such skill sets. What do we do?

We read, read, and read more novels in the genres of our choice and we do the necessary research to provide plausible details to your writing.  There are certain patterns and expectations that exist within genres, and your reader will feel cheated if those characteristics of the genre are not present. A noir murder mystery novel needs to have a dark, sparse, gritty quality that you will not find in a cozy murder mystery.

The key, I believe, in successfully writing a multi-genre novel is balance. One of the genres chosen must be the primary focus of the story, while the other one, two, or more genres should support. For instance, I wrote a science-fiction/murder mystery/romance novel where the overall science fiction theme is the focus, the murder mystery is the vessel to deliver the story, and the romance builds tension as the two main protagonists, who are emotionally connected, face danger. Throughout the novel, any of these components may take the lead in scenes, but the story balance remains the same.

I do hold to the theory that any genre can mesh with any other, and the combinations may open new vistas for your readers. The fact is these genres are a measure of what can and des occur in our lives. While there may not be dragons in our real world, we have fears that manifest themselves as such and can be symbols within a story.

One thing to remember, throughout this process of learning to write you should also be writing. Details can be added or corrected in the editing process. The important task is to write and to write until the story is complete.

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Writing Your First Novel

Part Three:  To Outline or Not to Outline…. (Pants or No Pants)

Coming soon…

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Resources:

https:qute//www.brainyquote.com/quotes/keywords/genre.html

https://www.merriam-webster.com/dictionary/genre

 

Writing Your First Novel

One of the common questions asked by novice writers on our sister Facebook site Writers Unite! is “How do I start?” To help new writers with the daunting but fun task of writing, I have begun a series of articles on how to prepare writing your first novel.

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Writing Your First Novel

Part One

Read

 “Everybody has a secret world inside of them. I mean everybody. All of the people in the whole world, I mean everybody — no matter how dull and boring they are on the outside. Inside them they’ve all got unimaginable, magnificent, wonderful, stupid, amazing worlds… Not just one world. Hundreds of them. Thousands, maybe.”
― Neil GaimanThe Sandman, Vol. 5: A Game of You

All those words Gaiman speaks of rattle around inside of us. Eventually, the urge to allow them to escape becomes overwhelming. Time to write a story.

Fledgling writers come from all walks of life with a wide-ranging knowledge of the writing process. I remember my own experience when I decided to begin writing. Writing was not new to me, throughout my career I had written research papers, manuals, newsletters, speeches, and advertising copy.  However, crafting a fiction story was something I had not done since college. I recognized there was a lot to learn.

The question is where to start?  We can jump right in and begin to put words to paper or screen but are we providing ourselves and our future readers with the best effort we can make? Before we write, let’s explore the steps we should do to prepare ourselves to be good writers. Let’s begin with reading.

Read

What better than a book to fuel the imagination. One of my favorite quotes is from George R. R. Martin, A Dance with Dragons:

“A reader lives a thousand lives before he dies, said Jojen. The man who never reads lives only one.”

Reading the works of others is fundamental to the writing process. Any genre and any author (even a not so skilled author) can provide you with useful information. I do recommend selecting best-selling books in the genre/genres that you wish to write in, as well. Successful works related to the story you want to write can provide you with trends and what the readers of the genre prefer.

What you do you as a new author gain by reading? There are several reasons:

Vocabulary:

Reading increases vocabulary by presenting words we may not hear or see on a normal day. A diverse vocabulary is a great asset for any writer by providing an enhanced collection of words that convey the meanings and emotions of your story. A large vocabulary also provides alternate word choices which improve your writing style.

Grammar:

Grammar rules are analogous to rules of the road. Authorities expect us to obey the speed limit, stop at red lights, and follow the other traffic laws. Otherwise, chaos ensues on the roads. The same is true for writing. Grammar rules provide a framework for writing a clear and concise story that a reader expects. When reading, pay attention to sentence structure, verb choice and agreement, how complex or simple the sentence are. You will begin to acquire a feel for the author’s style which can help you find your own.

Plot Structure:

Read to understand how the author constructed their story. How do they open their novel, what hook did they use to draw you into the story? Notice the author introduces their main and secondary characters, build tension toward the climax, or employ foreshadowing, plot twists? Learn what techniques work to provide the reader with an exciting and emotional experience.

Trends:

While you should read all genres for a better overview of style, you should also select numerous books within the genre that you wish to write in. Trends are not only for clothing, but genres are also subject to the latest fad or the focus of a best-selling author. Knowing what your potential reader might prefer when choosing a new novel. A word of caution, trends fade, and by the time your novel is ready for publication, some other trend may have taken your place. Write your story the way you want.

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In subsequent articles, we will look at these topics in more depth as well as other tools for the novice writer.

(Quotes: https://www.brainyquote.com/)

Writers Unite! Short Story Contest Winners!

Our FaceBook sister page Writers Unite! Short Stories hosted a contest in January 2017! We would like to present our winners.

The contest criteria:

Theme:  Love Conquer All

Genre: Open

Word Count: 3,000 words or less.

 

First Place:

The Girl With the Razzle-Dazzle Eyes by Milton Trachtenburg

https://docs.google.com/…/1NlKgkyQrq4_tBteGNQFx6xEKbT…/edit…

Second Place:

Paradise Beach by David Weeks

https://docs.google.com/…/1SHSTxf4bCz74_q1TlGPVdUzsmz…/edit…

Third Place:

Even From Behind These Walls by A.M. Ameenah M Hassan.

https://docs.google.com/…/14EKxFsSirU0k4TNDCE-n-4xrHM…/edit…

Honorable Mention:

A Mother’s Reflection by Leonie Hearn

https://docs.google.com/…/1_C5HyHW0rxl3M6btLBY-y4iDex…/edit…

Please join me in thanking our judges, Mandy Melanson, Dennis Takesako, and Dusty Grein. All excellent writers and all devoted to sharing their expertise with aspiring writers. I encourage you to visit their FB pages and author pages.

Also, special thanks to all who submitted entries. The judges were faced with a very difficult decision.

 

Writer’s Resolutions and How to Stick to Them

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With the New Year, many people, including writers, make resolutions. They resolve to do more or to do better. But then life gets in the way, sometimes in a big way, and things go off-track.

So as a writer, how can you make resolutions then stick to them through thick and thin?

First, be realistic. If you’ve never completed a novel before, your chances of completing more than one in the year are a bit a slim. And I’m not saying that to be a downer but in this case, the first goal should be to complete the first novel before moving on to the second one. But, if you have completed a novel then you’ve proven to yourself you can do that again and again. And if you accomplish something during the year then you can add on to it.

Second, don’t beat yourself up if you don’t get something done. The world is not going to end if you fail to meet a goal you set for yourself. Life happens more often than not but even if that’s not the case and you just get bogged down in fear, doubt, or boredom, kicking yourself while you’re down won’t accomplish anything. So be kind to yourself no matter what happens.

And third, celebrate your achievements no matter how big or small. Writing is a physical act and every part of the process is an accomplishment in itself. Don’t put yourself down by saying you could have done more, or that it’s not good enough, or that it needs a lot of editing, or anything negative. Of course your writing is going to need editing and revising as nothing comes out completely perfect in first-draft form. But celebrate the fact that you have words to revise and edit.

So if you have set any writing resolutions for yourself remember these three things:

  • Be realistic in what you can do though don’t be afraid to push yourself.
  • Be kind to yourself if you don’t achieve a particular goal.
  • Celebrate your achievements both big and small.

Best wishes on your writing for 2017!

The Message of Writer’s Block

Writer’s Block is when a writer sits down to write but nothing comes out. Now some people claim that it doesn’t exist and or that you just have to plow through it no matter what. I don’t agree with those arguments as I believe writer’s block is a message.

For me, when I’m having trouble writing I know that I’m butting up against something I don’t want to deal with. That ‘something’ can be a place I fear, a place that hurts to go to, or just a problem I’m having with the story or writing project I’m currently working on.

So let’s take a look at these three possible sources of writer’s block.

Years ago, I read a biography of the writer Anne Rice in which she said that sometimes you have to go to the places that you fear the most. For a writer, these aren’t literal places but places in the mind. But they can generate fear, and fear is a powerful instinct that most people react to by retreating from instead of going forward. For a writer, I believe a moment of retreat is allowed to examine the root of that fear. For example, is it a fear of rejection or a fear that someone will hate your work that keeps you from writing? If so, you’ll have to figure out a way to counter that. With these fearful places, you have to figure out what’s behind your fear of them before you can move forward.

Sometimes writing can be a form of therapy, which can be both good and bad. The bad part can bring on that blocked feeling because the first reaction to pain is to retreat from it. Personally when I hit on this, which for me manifests itself as a nasty combination of anger and sadness, I know I have to let it run its’ course before I can get back to my writing. And one way I let it run its’ course is to write about it with no intention of anyone ever seeing it. To me, this type of block has to be vented out in order to move past it.

Now the last type of writer’s block, the problem with my story or project, is the most common for me. This is something I can deal with by just taking some time to let my mind work through the problem, or going back and reading what I’ve written and editing as I read along. For me, going back through what I’ve read is one of the best ways I can combat being blocked.

So I believe writer’s block is real, but also something that can be worked through. Sometimes it won’t be easy to decode the message behind the block, but once you do break the code and figure it out, then you’ll know what to do.