LDSPMA

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Writing

Common Publishing Terms to Know

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If you’re jumping into the publishing world—welcome! We’re happy you’re here. We love new people, voices, and stories. As you’ve looked into writing groups, editing stages, publishers, and more, you’ve likely come across the many terms associated with the publishing industry. As with any trade, there is a plethora of jargon. 

But there’s no need to be overwhelmed or confused as you step into your writing journey. We’ve got you covered. This publishing tip will introduce you to some of the main terms used in writing, editing, design, and publishing.

Acquisition. When a publisher “acquires” a manuscript and sends a contract to the writer for publication.

Advance Reader Copy (ARC). A copy of a book that is given to a select amount of readers before it is officially published. This allows readers to read the book before publication so that they can positively review the book as soon as it is published.

Alpha Reader. A reader who looks over the first, unpolished draft of a manuscript to give feedback.

Backlist. Books that are not newly published but are still in print.

Back Matter. The material in the back of a book, including afterwords, addendums, appendices, author biographies, epilogues, glossaries, and indices.

Beta Reader. A reader who gives feedback on a manuscript after it has gone through several drafts. Beta readers can be volunteer or paid and should be regular readers of the book’s genre.

Bibliography. Section in the back of a book that cites all sources that were consulted in the book’s research. Bibliographies are commonly found in genres such as nonfiction, reference books, and historical fiction.

Blurb. A brief description of a book that entices readers to read it. The blurb is commonly found on the back of a cover, inside a book jacket, and as the book description in an online store. Also known as cover blurb.

Character Arc. How a character develops from their original state at the beginning of the book to their new state at the end of the book based on the events that transpire throughout the storyline.

Chicago Manual of Style (CMOS). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in print publications, fiction books, and nonfiction books.

Climax. The part of a story that has the highest tension, emotion, and action and is a major turning point for the main character.

Comps. Published works that are similar to a writer’s own work. Comps are usually referred to when a writer is pitching their work or writing a proposal to an agent or publisher.

Copyediting. A type of editing that corrects errors in capitalization, grammar, punctuation, spelling, and usage. This stage of editing generally comes right before the book is put into printer-ready format.

Copyright. The right to publish, sell, and revise a work, be it written or artistic. This right generally belongs to the creator of the work automatically unless otherwise stated by the creator or sold by contract.

Cover Blurb. A brief description found on the cover of a book that entices readers to read the book. Also known as blurb.

Developmental Editing. A type of editing that evaluates overarching story elements, such as themes, organization, character arcs, and pacing for the manuscript as a whole. This stage of editing would be done before any other stage. Also known as substantive editing.

Editorial Letter. A letter that most often accompanies a developmental edit and can accompany other levels of editing. This letter is written by the editor and includes actionable steps and advice for revision of a draft.

Elevator Pitch. A short promotional description of a book that aims to sell the book as fast as possible. An elevator pitch is typically no more than 100 words and delivered vocally to agents, publishers, or potential readers.

Endnote. A source reference or author note that is listed at the end of a book or the end of a chapter. It is marked by a superscript in the main body of text.

Epilogue. A section at the end of a book that is found directly after the main chapter content. It can act as a conclusion for the book or give commentary on what happened in the story.

Flash Fiction. A short fictional publication generally no more than 1,500 words. It may be a few paragraphs or even a few words long.

Footnote. A source reference or author comment that is listed at the bottom of a printed page and marked by a superscript in the main body of text.

Foreword. Section at the beginning of a book that briefly describes how the book came into being and why readers should read the book. Forewords are typically written by someone other than the book’s author.

Front Matter. The material at the front of the book, including title pages, forwards, prefaces, copyrights, dedications, lists of publications by the same author, and tables of contents.

Galley. A typeset document that authors, editors, and publishers review before the final publication. Also known as a proof.

Hook. A sentence or paragraph that catches the reader’s attention and entices them to keep reading. Hooks can be found at the beginning of a book or chapter and even on cover material.

Hybrid Publishing. A new publishing model that combines aspects of traditional publishing and self-publishing. There are many variations of hybrid publishers that allow for more author involvement, but it is important for authors to research any hybrid publisher in order to avoid illegitimate publishing deals.

Imprint. The trade name a larger publisher uses to distinguish and publish a specific type and collection of books.

International Standard Book Number (ISBN). A number used to identify a specific book. This number is needed in order to sell a book.

Lead Time. The time between when an editor receives a book and when it is officially published.

Line Editing. A type of editing that amends discrepancies in tone, style, plot, and characterization at the paragraph and sentence levels. This stage of editing happens after a developmental edit and before a copyedit.

The Modern Language Association Style Manual and Guide to Scholarly Publishing (MLA). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in the humanities, liberal arts, and literary criticism.

Narrative Nonfiction. A genre of books in which actual events and facts are structured and presented in a storytelling style.

Pacing. How quickly or slowly key events in a story develop.

Pitch. A very brief written or verbal presentation of a book that authors use to entice agents, editors, or publishers to accept their book for representation or publication. This pitch may also be found in a query letter.

Printer. Not to be confused with a publisher, a printer is a company that prints the physical copy of a book.

Print on Demand (POD). A printing process that prints single physical copies of a book only after they are ordered by a customer, instead of printing a large amount of books at once to sell at a later time.

Prologue. A section at the beginning of a book that is sometimes found directly before the main storyline. It acts as an opening for the book or gives relevant information needed to understand what will happen in the story.

Proofreading. A type of editing that catches the final errors in the typeset format of a book, including making corrections in punctuation and formatting.

Proposal. A document sent to an agent, an editor, or a publisher to convince them to accept a manuscript for representation or publication. It may include a cover letter, an author’s bio and credentials, a query letter, comparable titles, sample chapters, an outline of the book, and marketing strategies.

The Publication Manual of the American Psychological Association (APA). A style guide used in publishing that sets grammar, punctuation, and similar guidelines for publication. It is most commonly used in behavioral sciences, healthcare, and social science.

Publisher. A company that acquires, edits, designs, and markets a book. They also oversee public relations and sales.

Query Letter. A brief letter, typically one page or approximately 250 words, that is sent to an agent, editor, or publisher to convince them to accept your manuscript for representation or publication. A query letter includes a manuscript’s title, word count, and genre, as well as a hook, quick author bio, and synopsis of the story.

Revisions. The changes an author makes to a work.

Slush Pile. Unsolicited manuscripts received by an agent, editor, or publisher. These manuscripts may not be top priority and may not be read in a timely manner.

Story Arc. The chronological structure of a plot, including a beginning, a middle, and an ending.

Synopsis. A brief summary of a manuscript.

Title Page. A page near the front of the book that includes the title, subtitle, edition, author name, publisher, and, when necessary, the imprint.

Trope. A common theme or element found in a specific genre.

Typesetting. Formatting a manuscript from a Word document, Google Doc, or similar format to an industry-standard e-book or PDF. 

Unique Selling Proposition (USP). What makes a book stand out in the marketplace.

Work in Progress (WIP). A manuscript that a writer is currently working on.

You’re sure to find many more terms and acronyms in the publishing world, but this list should give you a good starting point to understanding the rich jargon used by agents, editors, designers, publishers, readers, writers, and more.

We would like to thank Breanna Call and our friends at Ever Editing for allowing us to share segments of this article with you. To read the article in full, click here.

How “Save the Cat” Can Save Your Story – Part Five

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Every reader knows that stories consist of more than just fun and games, and they’ll be ready to discover what comes next. You’d better deliver the heat you promised at the midpoint!     

Where the midpoint is a single scene beat that acts as a catalyst to change your hero’s path, the next beat is similar to the debate where your fearless hero deals with the fallout.

Beat 10: Bad Guys Close In

The stakes are high, and a ticking clock increases the pressure. Your story takes a dramatic turn, and your hero faces their ultimate test.

What happens to humans under pressure? Even the best of us default to our worst qualities—and that’s exactly what happens to our hero. All their negative personality traits drive their behavior. Eventually, their character flaws become too much for their friends to bear, and the hero finds themselves alone.

Beat 11: All Is Lost

What happens when we find ourselves in the worst spot of our lives with no one to support us? We hit rock bottom.

In this moment of despair, your hero faces a significant defeat that represents the death of the character they once were. This single scene beat is often signified by an actual death, especially that of the hero’s mentor. Without a mentor, the hero is truly on his own. This is the darkest hour before the dawn and the door through which your hero must pass to experience profound transformation.

Beat 12: The Dark Night of the Soul

This internal struggle is a crucial moment of reflection, introspection, and growth for your hero. Your hero confronts their inner demons, learns a valuable life lesson, and comes to understand the theme of your story.

Your hero will reflect on the lessons learned in their darkest moment to rise up and face the final challenge. This epiphany is the culmination of your story and the rising platform on which your hero will emerge victorious.

You can create a compelling and satisfying ending to your story by understanding the key stages of Act 2. I’m excited just thinking about it! Do this section right, and you’ll have a winner on your hands.

Now comes the grand finale. Act 3 brings all the pieces together, and your hero emerges triumphant. Let’s explore how to craft a satisfying and memorable conclusion to your story. Remember, the brightest dawn often follows the darkest night.

Beat 13: Break into Three: The Eureka Moment

The turning point of Act 3 is when your hero has a breakthrough—a realization that changes everything. The lessons they learned in the Dark Night of the Soul (Beat 12) meet the “aha” moment that sets the stage for the showdown.

Beat 14: The Final Battle

The stakes are at their highest, and the outcome is uncertain. It’s the climax of your story—the moment of truth. Here, your hero faces their greatest challenge where they will triumph or fail.

The hero must make amends for their bad behavior in Beat 10 and restore the relationship with the B-story character. Either the B-story character or the team recognizes the hero has changed and joins them in the fight.

With a foolproof plan in hand, they confront the bad guys—and are completely thwarted. The bad guys throw down a plot twist that destroys the hero’s plan and leaves them hopeless.

This defeat leads to a mini setup/catalyst/debate where the hero digs deeper than ever before and decides once and for all if they have what it takes to win the game. “Winning” requires them to embrace the theme and become the person the story has guided them to be. Only by doing so will they truly be able to defeat the bad guys.

The hero confronts the bad guys again with greater confidence and a supportive team.

This time, the hero and their team emerge victorious.

Beat 15: The Final Image

The last scene provides a snapshot of the hero’s new reality. This image mirrors the opening scene and allows the theme to resonate with the reader. The final image cements the hero’s transformation and emphasizes the lessons they’ve learned.

Crafting a satisfying ending is crucial to leave a lasting impact on your readers. By following these steps and understanding the importance of each beat, you can create a rewarding and memorable conclusion.

Pro Tip: The key to a great ending is to make it feel earned. The resolution should directly result from the character’s journey and the challenges they’ve faced.

I hope you’ve enjoyed this journey through the beats of Save the Cat, but you should never feel constrained by a writing method. Follow the beats as closely or loosely as you wish to guide you through crafting the best story you’ve ever written—the first of many to come.

Happy writing!

A headshot of Ali Cross.

Ali Cross

Ali Cross is a USA Today bestselling author, motivational speaker, and story development coach who loves to help writers level up both professionally and personally. A happiness enthusiast and believer in hope and magic, Ali’s a sucker for underdogs, redemption stories, and happily-ever-afters. She explores the concept of joy and where it can be found in her YouTube show and podcast, Write4Joy. She lives in Utah with her hacker husband where they collaborate on stories, artificial intelligence, and their plan for virtual world domination.
Find Ali at her website or @thealicross online.

    The Five P’s to Pitching Your Book

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    With LDSPMA coming up this week, many of us are looking forward to the classes, keynotes, and interactive sessions—which include pitching! Pitching is an incredible opportunity to chat with an editor or agent about your work and can frequently lead to opportunities for representation and publishing.

    But pitching can also be incredibly scary and super intimidating. You’re putting yourself out there and sharing what’s in your heart that you’ve been working on for years. So many worries and fears can fill your brain: Will the agent/editor even like it? What if you say something wrong? What if you never find a home for your book? What if the fire alarm goes off in the middle of your pitch and you’ll never get to finish what you started?

    Well, I’m here to reassure you that it’s unlikely the fire alarm will go off, and while it can be scary, pitching is not the end of the world. As someone who has pitched at multiple conferences, I know it can be overwhelming, especially your first time. But there are things you can do to make pitching a positive experience—and increase your chances of landing that dream publisher! So, without further ado, here are the five P’s to pitching.

    1. Prepare

    The first thing to remember is that you need to prepare for your pitch. This awesome article gives you plenty of resources to help you prepare and walks you through how to build your pitch. As part of preparing, you need to give yourself time to focus on your story to distill it into your three-minute pitch. Write everything out (your hook, your synopsis with the stakes, your comparable titles, and your author bio) and then print it. You can just read your pitch at the conference—that’s totally acceptable. Just make sure to print off two copies—one for yourself that you can mark up, and one for the agent/editor to give them if they ask.

    2. Practice

    Once your pitch is written out and ready to go, practice saying it, and practice with a timer to make sure you’re staying within your allotted three minutes. Practice in front of the mirror, practice with your spouse or children, and practice with your dog, too. Go over it as many times as you need to so that you’re comfortable reading it in the time you have. If you need to write yourself reminders in your pitch such as “pause here for effect,” “breathe after this sentence,” or “eye contact here,” do so and then practice those cues. You want it to be well-rehearsed—but not perfect. (Notice that “perfect” is not one of these five P’s!)

    3. Presentation

    The day of your pitch, you want to dress for success. This doesn’t mean you need to be super formal like you’re going to a dance, but you should dress professionally and on-brand for your book. If you’re writing fantasy, maybe dress in something a little more whimsical, like a cute nature dress, or a fun plaid jacket with nice slacks. If you’re writing middle-grade horror, maybe don a leather jacket if that’s part of your brand. If you wear makeup regularly, then do your makeup for your pitch. If you’re someone who never wears makeup, then don’t. You want to feel professional, but you also want to feel like yourself. I’ve worn penguin earrings to pitch my book because they’re on-brand for me and my stories, and they make me feel happy and comfortable. Dress for success, but also dress comfortably to best represent yourself and your book to the agent/editor you’re pitching to.

    4. Pacing

    Because you’ve practiced your pitch, you know how long it’ll take. But here’s a little secret: we all speak way too fast when we’re nervous. Every single time I’ve pitched, I speak too fast because it’s nerve-racking and exciting to put yourself out there. That’s why practicing beforehand is so helpful. You know exactly how long it’ll take you to read your pitch, so give yourself permission to slow down. If you need to write yourself a reminder on your pitch, do that too. Slowing down also helps calm your racing heart, making it easier to say the words. And don’t worry—agents/editors are humans too, and they totally get being nervous. Many of them teach classes for their job, which can put them out of their comfort zone too.

    5. Patience

    I know, patience can stink. But here’s the thing: not every agent/editor you pitch to is going to be the best fit for you or your manuscript. You’re interviewing them just as much as they are interviewing you. If they say no, which happens, don’t give up. If they say yes, but then later reject your manuscript, that’s okay too. Publishing is constantly changing, and while your story may be pristine and polished, it may not be the right publisher or the right time. Don’t be afraid to try again and pitch at a different conference to a different agent/editor.

    That’s it! Remember to follow the five P’s by preparing, practicing, presenting yourself well, pacing yourself as you pitch, and practicing patience with both yourself and the agent/editor you’re presenting to. And remember, at the end of the day, even if they don’t accept your book, you still took a brave step forward into the unknown, and that is praiseworthy.

    Headshot of KaTrina Jackson

    KaTrina Jackson

    KaTrina Jackson loves penguins, cross-stitching, chocolate, and piano music, and spends much of each day trying to fit those loves in around her jobs as a freelance editor and as a project manager for Eschler Editing. She graduated with a degree in editing and publishing from Brigham Young University because she couldn’t get enough stories in her life. She’s also a member of three different writing groups, attends and teaches at multiple writing conferences yearly, volunteers with LDSPMA and has since 2021, and is currently working on publishing her first novel. When she’s not writing, editing, or reading, she can be found practicing yoga, teaching piano lessons or performing with her husband, or watching Disney movies while working on a cross-stitch project. She and her husband live in Olathe, Kansas.

      10 Writing Tips to Make Your Writing Glisten 

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      I’ve always been the bookish sort, hanging out with imaginary characters in the library while my peers went out to recess, reading about adventures instead of going on them, and scanning the dictionary for sophisticated zingers to wield in future (and unlikely) debates. It wasn’t that I didn’t have many friends—though that is also true—but I believed I had a firm grasp of language arts from a young age. However, it wasn’t until I set out to write a novel that I discovered I’d been making some rookie mistakes. Through my study of the craft, suggestions from editors, and earning an MA in English and creative writing, I’ve compiled a list of tips you might find helpful. While no one wants their artistic endeavors stifled by dos and don’ts, incorporating these suggestions to align with your style will make your writing more effective, engaging, and concise. 

      • Eliminate Adverbs 
        Stephen King once told me to cut out all my adverbs. Well, he didn’t tell me this personally, but I did listen to him narrate his audiobook On Writing, so it felt like he was speaking to me. This advice confused me at first. Why wouldn’t I want to use a million modifiers to clear up any ambiguity a lone verb might create in the reader’s mind? Well, because adverbs can be condescending and lazy. Strong verbs provide narrative context to allow the reader to grasp your meaning without relying on a plethora of -ly words. Readers are intuitive; go ahead and trust them. Use adverbs as you would cayenne pepper—just enough to give your writing a kick. (I learned this the hard way in writing and cooking—sorry, family). 
      • Choose Your Dialogue Tags Carefully 
        I loved assigning a clever tag to each dialogue line in my stories. One character would “exclaim,” the next would “shout,” and another “declare.” However, these expressive tags distract from the dialogue and narrative flow. Stick to simple tags like “said” or “asked,” but even these aren’t entirely invisible. Mix them with action beats, internal thoughts, sensory details, and body language. If dialogue can be understood without a tag, don’t use one. Don’t reiterate a character’s emotion with a redundant tag. Also, be wary of onomatopoeic words like “grunt,” “snort,” “groan,” or “guffaw”—these sounds are hard to make while speaking. 
      • Avoid Clichés 
        The adage “All that glitters is not gold” is as true now as when Shakespeare coined the phrase, but overuse of expressions degrades their literary impact. In dialogue, common idioms can reflect a character’s voice, background, or personality, but avoid them in narrative and descriptive passages. Don’t say, “Listening to him talk was like watching paint dry.” There are countless other boring things in the world. Create something original to complete the metaphor and make your writing stand out. 
      • Eliminate or Change Repetitive Words and Ideas 
        I try to avoid overusing my favorite words when writing. However, searching for a synonym in the middle of a writing session can slow down creative flow, and in my case, lead to deep dives into etymological rabbit holes and distractions like word games and quizzes on the dictionary app. Instead, wait until the revision process and use your word processor’s “find” feature to search for words you tend to repeat. Then delete them or think of alternatives.
      • Ground Your Characters and Set the Stage 
        Even if readers can reasonably assume the scene takes place in a particular city or country, let them know where the characters are at the start of the narrative. Don’t let your characters float in a void for the first few paragraphs. Provide enough description to ground readers, but be careful not to overdo it. Each aspect of the character’s environment should serve a purpose, like carefully chosen decorations in a room. Include enough key pieces and furniture to make the setting feel real, and avoid littering it with unnecessary details that distract from your purpose.  
      • Be Specific 
        Words like “there,” “that,” “those,” “it,” “this,” “here,” and “which,” along with other vague pronouns, can slip into sentences when you’re not looking. While these pronouns might be convenient placeholders in a first draft, carefully examine them during editing. Pronouns are necessary and effective when their antecedents are clear, and they help avoid repetition of nouns. However, when their reference is unclear, they can confuse readers and weaken the impact of your writing. Specific language clarifies your meaning and helps readers form a complete mental image of the scene. 
      • Avoid Heavy-Handed Dialect 
        Overwrought vernacular can cause readers to stumble over dialogue, pull them out of the story, and frustrate them. Avoid phonetically spelling words to make a character seem ignorant or foreign. Misspelling words to mimic pronunciation can make the text challenging to read and disrupt the narrative. Plus, it’s easy to get it wrong unless you’re very familiar with the region or social group you’re trying to represent. The goal is to enhance the narrative, not create barriers between your story and the audience. I once tried to write all my dialogue in Early Modern English because my book was set in the 17th century. Alas! My readers grew tired of slogging through all the “forsooths” and “prithees.” I left some archaisms in because what fun would it be to remove them all? As my linguistics teacher advised, “Remain true to your characters and their language, but don’t sacrifice clarity.” Use dialect sparingly to give a subtle flavor of a character’s education, background, and regional origin.  
      • Limit Adjectives 
        Oh, how I love delightful, beautiful, intrepid adjectives. Why else would I spend my childhood reading the dictionary but to stuff my prose full of sharp-witted, erudite, and droll descriptive words? Are adjectives your darlings too? Kill them. They cling to a sentence like barnacles and drag down the narrative. Scrape off adjectives that don’t serve a purpose before they sink your story. Keep only those that sharpen the image or add essential information. 
      • Get Rid of Filter Words 
        Perception verbs like “feel,” “hear,” “see,” “realize,” “watch,” “notice,” and “wonder” clutter up the story, create distance between the reader and the narrative, and dilute the story’s immediacy. For example, instead of “I saw the car drive by,” you could say, “The car drove by.” Immerse the reader in the action and setting by showing instead of telling. For example, instead of “She felt nervous,” you might say, “She clasped her trembling hands in her lap.” Let the reader experience the story through the POV character, not filtered through an extra layer of interpretation. 
      • Use Active Voice Instead of Passive Voice 
        Look for words like “had,” “were,” “was,” “have been,” and other “to be” verb forms followed by the past participle of the main verb. For instance, instead of saying, “The food was eaten by me,” opt for the more direct, active version: “I ate the food.” Replace weak “to be” verb forms with stronger verbs. Using the active voice whenever possible will make your sentences more engaging and precise. 

      Apply or Disregard These Suggestions as You See Fit! 
      Don’t be afraid to write for fear of “breaking” a rule. The key lesson I’ve learned is to put your ideas down on paper, then go back later and make your writing glisten.


      Happy writing and revising! 

      Headshot of Kami Pehrson.

      Kami Pehrson

      Kami Pehrson lives with her husband and five teenage children in Stansbury Park, Utah. She recently finished her master’s degree in English and creative writing and has written three novels—but is still trying to figure out what to do with them. She loves editing, reading, and playing word games on her phone. She also enjoys listening to audiobooks while half-heartedly doing Pilates in the living room.

        Powering through Your First Draft

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        Congratulations. You’ve decided to write a book!

        Whether you’ve plotted out the storyline or you’re writing it by the seat of your pants, you’re going to spend a lot of time in front of your computer typing. By the time you’ve finished, you’re probably going to hate your book. In fact, that will happen long before you finish.

        Most people who begin writing a book will never finish it. They have a wonderful plot, dynamic characters, and a fantastic world, but the time-consuming effort to get their ideas onto paper will become so overwhelming that they just quit.

        As a published author—both indie and traditional—I can completely relate to that feeling. The longest it has taken me to finish the first draft of a novel is 15 months. The shortest is four months.

        I’ve learned quite a bit about how to write effectively and efficiently so I can power through and get the first draft of my manuscript completed.

        I’d like to share four tips with you on how you can reach your goal of writing a book.

        Set a Daily Goal

        One of the best ways to power through your first draft is to set a daily writing goal for a minimum number of words you want to write.

        The most difficult part of writing, for me, is starting on a daily basis. I tend to sit down at my laptop, but then I check Facebook, look at the news, see if the YouTube channels I follow have any new videos… You get the idea.

        But I’ve found that if I can start writing and get 300 words, then I’m in a good rhythm by that point and can keep going to get quite a lot more. There are some days when I’ve been able to get over 3,000 words in one session!

        Having a minimum daily goal will get you closer each day to finishing your rough draft.

        Find a Group

        The most effective way I have found to meet that daily goal is to find a “sprinting” group. These can be found in Facebook groups, on Discord, and other virtual social media platforms. If you are a member of LDSPMA, you can see if other members are already sprinting.

        Here’s how sprinting works: At an agreed-upon time, writers get together virtually (or in person, for some groups). I personally prefer Facebook Messenger group chats, but some groups will use Discord or Zoom.

        One person sets a timer for a set amount of time (usually 10 to 15 minutes). Everyone begins and writes for the entire time. The person timing lets everyone know when the buzzer has gone off, and everyone shares their word count for that time.

        After a five-minute break, the timer is set again. You can sprint for just one round, or you can do four or five rounds! It all depends on how you and your group choose to do it.

        I like sprinting because not only does it force me to write for a certain amount of time, but I am held accountable for what I do during that time. Even if you don’t want to sprint, having a group of writers to belong to will keep you accountable.

        Don’t Self-Edit While Drafting

        Sometimes your sprinting word count can be low if you are self-editing as you write. In fact, one of the biggest mistakes people make as they try to write a book is to edit themselves as they go along.

        Don’t do that!

        Of course, if you have a typo, you can take a moment to fix it, but don’t get caught in the trap of rewriting entire scenes that you don’t like.

        Just. Keep. Writing.

        Whether you’re sprinting, trying to finish a chapter on your own, or writing new scenes, just keep going! Hold on to that scene; don’t try to fix it or make it perfect right now.

        That’s what editing is for! You’ll never finish your first draft if you get stuck on one scene or one chapter, trying to make it “just right.”

        Use ChatGPT or Another AI

        Sometimes as you’re writing, you’ll hit writer’s block. That happens to me quite regularly, actually. When that happens, I turn to ChatGPT. Now, I want to be clear: I do not use AI to write my books for me. At all. But I will use it as a way to get me past my writer’s block by triggering my imagination.

        For example, if I need to write a letter from a character to her aunt, and I have no idea what kinds of “fluffy” things to fill it with so I don’t information-dump, then I will ask ChatGPT to write a letter.

        Now, these snippets are not going in my book. Honestly, they’re usually terrible, but even if they were any good, they wouldn’t be in my voice or style of writing. Instead, I use them as a springboard. There might be one line or a topic that will catapult me into an ocean of ideas. Something as simple as “While at the inn on our journey, we met the most intriguing man…” will open up a host of ideas for the letter my character is writing to her aunt.

        I know that ChatGPT (and other AI programs) are a bit of a hot topic right now, which is why I only use it as a way to get past my writer’s block. It’s not much different than asking your writing group or texting your mom and asking, “What kinds of things could this character write to her aunt in a letter?” and getting ideas from them.

        If you feel uncomfortable with that idea, find a group of people (friends, other writers, family) you can ask these questions. It will serve the same purpose of getting your creative juices flowing.

        You Can Get Your First Draft Done!

        These four tips are how I am able to write several novels in a year.

        Most people get stuck on their first draft because they want to make it “perfect” or “just right.”

        Don’t let that be you—just write! Before you know it, you’ll have your first draft completed. Then you can begin to fine-tune it and turn it into what you want it to be.

        You can power through and get your first draft done, which means you’ve written a book! It’s not edited yet, but as soon as you write “the end,” you’ve written a book.

        And it’s an amazing feeling.

        Headshot of Tiffany Thomas

        Tiffany Thomas

        Tiffany Thomas is a chocoholic former math teacher with Crohn’s Disease and homeschooling mom of four kids.  She is a published author of indie regency romances, as well as Lamb Books (early scripture readers boxed sets) through Cedar Fort.  Tiffany and her husband, Phillip (who is an engineer) also work together on the blog Saving Talents, which (among other things) provides free Come Follow Me daily devotionals and FHE outlines for kids.  They enjoy spending time with their family, geeking out over sci-fi together, and saving money.

          Pitching to Agents

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          As a pitch and query editor at Eschler Editing, I know that in-person pitching can inspire fear in the most stoic of individuals. If pitching to an agent or editor gives you the heebie-jeebies, take comfort that you’re not alone, and then take a deep breath and get ready to shake it off. Because if you prepare, you don’t need to fear!

          Up first, writing the pitch. Well in advance of the actual event, you should know the guidelines for your pitch—the duration of the session, the length of the pitch, and so on. Those are the parameters within which you’ll work.

          In this article, we’re going to talk about writing and preparing a pitch that you’d deliver in person to an agent or editor in a 10-minute pitch session. Elevator pitches, one-line pitches, Twitter pitches, and other types of pitches can follow this same formula. See below for hints on tweaking for those formats.

          So, Let’s Build Your Pitch!

          Step One. Write down the following:

          • Title
          • Genre
          • Setting (where)
          • Protagonist (who)
          • Main Conflict (what)

          Books are about someone. And they have stakes. You want to include both in your pitch.

          Try to:

          • Evoke some emotion
          • Make your character stand out
          • Tell more about your genre without really saying it
          • Use as few words as possible

          Step Two. Write down one vivid detail that makes any of the above elements in Step One different from everything else out there.

          This is about making your story different. Think “Who, What, Where, and Why Should I Care?” It’s this last part that you’re focusing on here. Why should an agent care about your setting, protagonist, or main conflict? What makes them different? 

          Agents/editors read a lot of slush. They hear a lot of pitches at conferences. Why is yours special? That’s what you’re aiming to say here.

          Step Three. Answer three questions:

          • What is the barrier between the main character (MC) and what he or she wants?
          • Who is the villain? What is the BIGGEST thing the villain is keeping from the MC that prevents the MC from overcoming the conflict?
          • Does the MC have any special abilities (doesn’t have to be paranormal) that MUST be mentioned?

          Answering these questions helps identify the uniqueness of your character and the inherent stakes in your plot. Both are essential to a pitch, no matter its length.

          Step Four. Write down three “big” words—evocative words—that relate to your story.

          You’re only going to use one of these, and you’re going to put it in the last sentence of your pitch. It’s essentially your curve ball—the thing that makes an agent/editor say, “I need to read your full, stat.”

          Step Five. Set a timer for 5 minutes and write:

          A one-paragraph pitch for your novel using the information you’ve collected in steps 1–4. In the last sentence, use one of your three “big” words to finish the pitch. This is a cliffhanger pitch. You’re not giving a synopsis of the book. You’re dangling a carrot, enticing the agent or editor to ask for more.

          It’s important to note here that the pitch should be about 5 sentences, or about 125 words.

          Putting It into Practice—the Example

          We’re going to write a pitch based on the movie How to Train Your Dragon, following the steps above.

          One sentence from steps one and two: HOW TO TRAIN YOUR DRAGON (title) takes place on the island of Berk, where fifteen-year-old Hiccup (who) lives with his tribe of bloodthirsty Vikings—but he can’t bear to deliver the fatal blow to a dragon (something interesting/unique/vivid—and to make it even better, it’s the conflict).

          Three sentences that convey the conflict and stakes from the three questions you answered in step three: Hiccup wants to impress his dad (the “wall”)—the tribe’s chief (more conflict)—with his dragon-slaying talents, so he enrolls in dragon training (bigger “wall”). Every morning he wields a mace and shield while sneaking off in the afternoons to play with the Night Fury he’s befriended. Eventually his weapons are replaced with games as he learns that dragons aren’t the monsters he’s been brought up to believe (minefield of conflict).

          A final sentence from step four that has your “big word” and cliffhanger curve ball: Using his quirky sense of loyalty, Hiccup has one shot to prove himself and set a new course for the future of the entire tribe.

          That’s it. Something you can easily memorize and recite in a couple of minutes. Make it snappy. Push yourself to write some awesome sentences. And stop at a point that makes the agent or editor have to know more.

          Now’s the time to edit your pitch for length if you’re preparing an elevator pitch, a one-line pitch, or a Twitter pitch. See if you can take out the three middle sentences, leaving just your first and last. You might need to do some tweaking, combining, or rearranging. But at least you’ll have a base from which to work. Remember, all pitches should convey a unique MC who has a unique conflict with high stakes.

          Step Six. Practice.

          Practice in front of the mirror. In the car on the way to work. With a friend at critique group. Over the phone to your mom. Practice. Practice. Practice. You’re going to practice the pitch so much that you’ll have it memorized—which is the goal.

          Whew! You’ve written and practiced your pitch.

          Next, you’ll prepare for the actual session.

          Preparing for the Live Session—a Few Tips

          • Level the playing field. An agent or editor doesn’t hold the key to your entire future happiness or your self-esteem. You weren’t hoping to marry everybody you ever had a date with, and finding the right agent is just the same. You’re both just looking for a good fit. Remember, the agent or editor is just a person. You’re a person. The agent/editor likes watching reruns of Seinfeld. So do you! Shake off the rejection anxiety.
          • Play to win. Research the agent. Know what the agent is looking for, what the agent has sold, and so on. You’ve written, memorized, and practiced your pitch. You’ve got this.
          • Act like the star player. Basically, this is a “fake it till you make it” statement. I’m telling you to pretend. Nervous? Pretend you’re not. Act confident. Act happy and friendly. Smile. Ask them how they are. If they’re enjoying the conference. Act calm, cool, and collected. Act like you’re exactly who they want writing books for them—because you are!
          • Leave time at the end for the agent or editor to talk. Realistically, introducing yourself, settling into the pitch, and pitching should take 3-4 minutes. In a 10-minute session, that leaves plenty of time for you and the agent/editor to talk more about your work.

          While a request for the full manuscript is nice, it shouldn’t be your only goal. If you can get an agent or editor to give you feedback about your pitch—which is really feedback about your book—that’s a win.

          Now, go write your pitch!

          Headshot of Elana Johnson.

          Elana Johnson

          USA Today Bestselling Author, Top 10 Kindle Unlimited All-Star Author, and #1 Bestselling Author on Nook and Apple Books, Elana Johnson writes clean and wholesome contemporary romance, usually set on the beach or within the vicinity of the beach. Unfortunately, she lives in a landlocked state and must travel to the beach to get her fix, which her husband gladly accompanies her to do a few times each year.

          She also writes contemporary Christian cowboy romance as Liz Isaacson and sweet romantic women’s fiction as Jessie Newton, and all of her books are part of the Feel-Good Fiction Books brand.

          This article appears courtesy of Eschler Editing.

            How “Save the Cat” Can Save Your Story – Part Three

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            Previous Parts
            How “Save the Cat” Can Save Your Story – Part One
            How “Save the Cat” Can Save Your Story—Part Two

            In my last article, we talked about Save the Cat’s “Transformation Machine.” In this article, we’ll learn about the next three plot beats that draw on your hero’s want while planting subtext about their emotional wound and true need. If you know your hero’s background, you can infuse the story with that rich resonance we want to create with our readers. Studies have shown that most readers will read about 25% of a story before giving up, so these next beats are all the more important. Resonance is the key to hooking your reader and keeping their interest.

            The first three beats—Opening Image, Theme, and Set-up—established our world, the main characters, and the hero’s essential problem. Now it’s time for the plot to come crashing into the hero’s life in a very big way.

            Beat 4: Catalyst

            The Catalyst is a single-beat scene that hits around the 10% mark of your story. Think of this event like a bomb going off in your hero’s life—it’s unexpected (to them, though the reader may anticipate it), upsets everything, and can’t be ignored. If you can honestly say that the hero could ignore the Catalyst—you know, if he weren’t in the book you’re writing—then chances are good it’s not a sufficiently disruptive event. While the hero will spend the following few chapters debating what to do in response to the Catalyst, the truth is they have no choice but to act.

            Pro Tip #1: Imagine your hero going about their day—same-old, same-old—when a bomb smashes their house to bits, leaving them alive, but suddenly living a very different life. That’s the kind of impact your Catalyst should have.

            Beat 5: Debate

            When writers feel like something is “off” with their manuscript, I always review the Catalyst and Debate. Getting these two beats wrong will mess with the book’s flow. In these cases, I find the Catalyst is almost never life-changing enough, and the Debate is never (I mean, never) long (or deep) enough.

            The Debate should be 10% of your book!

            If you’re writing a 100,000-word long book, the Debate alone will cost you 10,000 words. That’s a lot of words! My chapters tend to be 2,000 words long, so I’d need to write five chapters of Debate. That’s 10% of your story spent on boring stuff.

            Or is it?

            The Debate is only boring if you write it that way.

            Imagine that Beat 4’s bomb lands on your hero’s house and everything goes up in flames. It’s a total loss.

            Beat 5 asks, “What now?”

            If (as is common for many writers when they first come to me) your answer is, “Then she moves in with her boyfriend, and it’s awesome, and they live happily ever after!” then, well, you have a problem. That’s not interesting, and it’s not real life.

            The Debate beat allows you to lean into what you know about your hero and the internal journey you want to take them on.

            In real life, if a bomb randomly blew up someone’s house, the victim wouldn’t stop talking about the event. They’d have a hard time working, sleeping, eating, or doing anything. Their mind would be on a constant loop of “A bomb just destroyed my house!”

            First, they’d freak out a bit. (Understatement.) Then they’d call the fire department, police, and a friend—because where are they gonna sleep? And what will they wear/do/think? Everything they owned was just destroyed. (More freaking out.)

            They’d talk to the police and insurance people. And talk to them again. The place where they spent their first night might not be where they want to stay long term, so they’ll talk to more people and make more arrangements.

            They must pick through what’s left of their life, which will be so hard. Lean into that pain.

            This is an opportunity to make a change. Maybe they work from home, so really, do they want to rebuild on the same lot? Or do they want to follow their lifelong dream of living and working in Belize? Do they even want to build another house? Maybe they want to move downtown into a trendy condo. The options are endless, challenging, and ultimately, revealing. They might even find themselves thankful for that bomb because the misfortune will allow them to fix everything that’s wrong with their life.

            That hope, that belief that they’re in control and know what they’re doing is exactly where you want your hero to be as they Break into Two (Beat 6).

            Pro Tip #2: If your Catalyst doesn’t yield this kind of life-altering dilemma, it’s not big enough or radical enough.

            Pro Tip #3: Make a list of everything that needs to happen because of the Catalyst, then build your Debate. You’ll discover plenty of material to fill that 10% of your book, and it will inform Act 2 in powerful ways.

            Pro Tip #4: If you’re writing a “Call to Adventure” story, the Debate can be a preparation beat—but should be no less demanding of your hero.

            Beat 6: Break into Two

            The Break into Two beat is a single scene showing your hero choosing to move into Act 2. The event should be physical and occur entirely of their own volition.

            This shift from the set-up phase isn’t Harry Potter going to Hogwarts. It’s Harry running head-first into a brick column, believing it’s a magical gateway to wizarding school.

            It’s not Katniss volunteering to be Tribute. It’s Katniss boarding the train from District 12 and stepping off into the completely different world of the Capitol.

            A bold decision or action provides the perfect lead-in to Act 2—otherwise known as the Upside-Down World. But you’ll have to wait for the next installment to learn how to solve that whole “messy middle” business.

            Here’s a hint: With Save the Cat, there’s no such thing as a “messy middle.”

            A headshot of Ali Cross.

            Ali Cross

            Ali Cross is a USA Today bestselling author, motivational speaker, and story development coach who loves to help writers level up both professionally and personally. A happiness enthusiast and believer in hope and magic, Ali’s a sucker for underdogs, redemption stories, and happily-ever-afters. She explores the concept of joy and where it can be found in her YouTube show and podcast, Write4Joy. She lives in Utah with her hacker husband where they collaborate on stories, artificial intelligence, and their plan for virtual world domination.

            Find Ali at her website or @thealicross online.

              Art Can Make You a Better Writer

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              I am a visual learner. Images help me remember and understand things more thoroughly. Art has helped me become a better writer as well. Here are four ways to harness the creative power of art in your writing.

              Turn to Art for Mental Respite

              Art can inspire creativity by activating the part of your brain that is responsible for contemplation and daydreaming. Your brain isn’t designed to stay in work mode constantly. Giving your mind a break from structured assignments allows it to relax—it’s like a brain vacation. When my kids were small, they once sent me to my room for a time-out. It made for the best day ever! Sometimes your brain just needs a break.

              Reflect on Art to Inspire Your Writing

              Slow down and take time to analyze artwork or an interesting photo. Give yourself a moment to ponder about the details and reflect on your impressions. Doing this can lead to new ideas and give you insights that will spark your writing.

              A painting called Pirates by Ned Young, an artist from Brigham City, Utah, hangs on our living room wall. It depicts two young boys standing atop a haystack next to a barn. One boy holds a sword and wears an eye patch, while the other boy looks through a telescope. Beside them, a skull-and-crossbones flag waves on a pole. When I look at that painting, it takes me to a place in my childhood. I can smell the hay. I can feel the summer heat. It makes me wonder if cats live in the barn. Are the boys looking for a place to hide treasure, or are they escaping from hungry cannibals? I get all these impressions from a watercolor painted in Utah.

              Art isn’t just displayed in galleries—it’s all around us. You can find artistry in the way leaves overlap and create interesting compositions. Cloud formations are one of my favorite works of art. Look closely at a spider web or ripple patterns in the water. Find music in the sounds around you. Our Father in Heaven is the ultimate artist.

              If you make art appreciation part of your life, your observation skills will grow. Your ability to write accurate descriptions will improve as you increase your awareness of the world around you.

              Cultivate Empathy through Art

              Elevating your awareness of the creativity around you can increase empathy toward others. As you pay more attention to the subjects in art and how they are portrayed, you may notice details that evoke an emotional response. For example, The Child’s Bath by Mary Cassat holds a special place in my heart because it depicts a woman bathing a toddler, and it elicits feelings of comfort, love, and contentment.

              The Child’s Bath by Mary Cassat

              On the flip side, The Scream by Edvard Munch also reminds me of motherhood, particularly when my kids haven’t picked up their Legos, and I step on one.  

              The Scream by Edvard Munch

              Find Story Ideas in Art

              When you ask questions about what you’re seeing and why the artist portrayed the image in the way they did, it can kickstart your creativity. You can explore even further by inserting yourself into the picture and asking questions from a new perspective. What made the artist choose this subject? If you were the person in the painting, why are you in that setting? What is your story? Engage your senses as you ask these questions. What might you taste, smell, or hear in this situation? Use your enhanced focus to sharpen the way you write your descriptions.

              Take the opportunity for an art break, whether it’s enjoying a painting, a sculpture, or the intrinsic beauty of nature. Art will stimulate your mind, boost your creativity, and help you become a better writer.

              A headshot of Cathy Witbeck

              Cathy Witbeck

              Cathy Witbeck is a Canadian-born author-illustrator transplanted to the USA. She remembers writing and drawing ever since she could pick up a pencil. She did an especially lovely piece of artwork on the side of the septic tank with house paint at a very young age. Perhaps that’s when it was discovered that she was gifted, or maybe it’s why she was sent to the USA.
              She has five grown kids and one grown husband. When she isn’t writing and illustrating, she is chasing after grandkids intent on making their own artwork.