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Writing

The Thirty-Two Words That Changed How I Viewed Myself as a Writer

January 2, 2019 By Kristen Reber 2 Comments

By Kristen Reber

“I have never sought to do anything other than to build His kingdom,” Sheri Dew said. “And as a result, I have had the opportunity to be in the presence of prophets, seers, and revelators.”

I heard those thirty-two words at the third annual conference of the Latter-day Saint Publishing and Media Association (LDSPMA). I was sitting roughly ten feet from Sheri Dew—CEO of Deseret Book; executive vice president of Deseret Management Corporation; former general officer in The Church of Jesus Christ of Latter-day Saints; and prolific, well-known author. She was among many admirers of her work and could have opened with anything! I expected her to start with something much grander about herself. But she chose to open with a line that praised the Lord and placed herself in the position of a humble servant rather than as a great leader. Her example, expressed in just thirty-two words, struck me. They changed how I view myself as a writer.

Sheri Dew at LDSPMA’s Third Annual Conference

I had long wanted to be a published author. Those yearnings began when I was about seven years old and someone told me I was a good writer. I heard over and over again that I had a talent with the written word. This was great news because I enjoyed writing! And it’s always nice to hear that you’re good at something.

When I became an adult, I was asked when I was going to finally publish a book. I’d start to write one, but I always got in my own head, wanting to craft something great. Something that I’d be remembered for. So I’d always feel disappointed with what I wrote. I knew I had talent, but when would I finally write something worthy to be on a shelf next to the great writers of the past? I wanted my name in lights. I wanted to be well-known. And the paltry stories I kept churning out just kept falling short.

But the ideas kept coming and I’d keep trying. I published a couple articles in the Ensign, and I was proud of them. It was fun to see my name listed as the author. But I wanted to write a book.

A particular book idea had been forming in my mind off and on for several years—ever since I’d returned home early from my mission. I had written a memoir and tried to get it published, but the manuscript was rejected because the topic was “taboo,” in the publisher’s words. Furthermore, memoirs generally don’t sell well unless they’re written by someone famous.

Kristen on her mission in the Philippines

I was actually okay with the memoir being rejected. I was still hurting deeply from having to leave my mission early and still grappling with feelings of failure. I had much more of a journey to walk before I was ready to write such a book.

Years passed and I healed from the experience of returning home early from my mission. But thoughts of the book persisted. Over the years, my idea changed from writing a memoir to a resource book. No such book had been written for early-returned missionaries, and I realized that I could become the first to do so. I might even become famous for doing so. I tried not to let that thought persist, but it came back, as self-aggrandizing thoughts have a tendency to do.

During the LDSPMA conference that Sheri Dew spoke at, I met an acquisitions editor from Cedar Fort and pitched the book idea. She loved it. She told me to dust off the old manuscript, spruce it up, and give her a call when it was in progress. These words were an aspiring author’s dream come true!

I was in a daze the rest of the conference. Me? A published author? At last? The experience was surreal.

And then Sheri Dew said the words that woke me up to the real purpose of having a talent: “I have never sought to do anything other than to build His Kingdom.”

I thought about how I’d wanted to see my name in lights. I wanted me to be glorified and recognized. I wanted the world to know that I was talented. I wanted “Kristen Reber” to be known.

It all seemed so silly. I have worth and talents, but they come from Heavenly Father. They were given to me in the hopes that I would use them to build His kingdom. It became clear to me why my stories had been so paltry lately. I’d been comparing myself against others. I cared more about what the world thought than what He thought. I needed to change my focus. My writing shouldn’t be about me. It should be about Him. Who cares if Kristen Reber becomes famous? I wanted my works to make Him well-known to others. I wanted to do my part, however great or however small, in building His kingdom. And I was going to start with a book for early-returned missionaries.

I also felt grateful to Sheri Dew and her example to me. Because of her example, I started every interview with early-returned missionaries, every writing session, and every editing session with a prayer. I refused to get cocky about my own abilities. The book was a challenge to write, and I knew that to adequately cover the topic, I needed all the help I could get. And even as I became an expert on the subject, I knew it couldn’t hurt to remain humble and continue to pray for help and guidance. When I read what I wrote and was satisfied with it, I said another prayer of gratitude instead of patting myself on the back. These practices made writing the book a sacred experience.

Early Homecoming was published in August 2018. I received emails from people thanking me for my work and telling me that I was talented. At times I could still feel the attention getting to my head. I mean, it was exciting to receive those emails, to see my work on the shelves of bookstores and in Deseret Book’s catalog, and to receive pictures of people—both those I knew and those I didn’t know—purchasing my book! It was exciting to see the sales numbers from the publisher and to see a “bestseller” label slapped on my book at Costco! And it was thrilling to see my name finally on the cover of a book! But when I felt the praise and the attention getting to my head, I reminded myself that the purpose of Early Homecoming was to build His kingdom. I let myself enjoy the excitement and the feeling of accomplishment, but I didn’t let it go beyond that. The feeling of building His kingdom was better than any compliment, and I wanted to keep that perspective.

As I’ve continued on my journey in publishing, whether as a writer, editor, or some other role, I’ve asked myself: “How can I build His kingdom?” I’ve found a lot of peace through asking that question. When I get caught up in “I can become well-known or famous or praised if I . . .” I notice myself tailspinning and lacking in inspiration. But when I focus on building His kingdom, inspiration and peace come.

Although Sheri Dew and I have both chosen to focus our work on gospel-centered topics, building His kingdom isn’t limited to creating Church literature or media. In my interview with David Archuleta at LDSPMA’s fourth annual conference, David told me that he keeps God in mind in everything that he does. Though David sings pop music, he wants what he sings to bring people closer to God. David also tries to remember who gave him this gift of music and how He wants David to use it.

Also at the fourth annual conference, Orson Scott Card said that although he doesn’t seek to write novels related to the Church, gospel ideals find their way into his work. For example, Ender Wiggins in Ender’s Game exemplifies Doctrine and Covenants 121:41–43. He’s the perfect leader, and Card encourages readers to try to develop those leadership qualities.

 Kristen Interviewing David Archuleta
Orson Scott Card speaking at LDSPMA’s Fourth Annual Conference

I will always be grateful to people like Sheri Dew, David Archuleta, and Orson Scott Card for showing me that building His kingdom has its own reward. While these people are famous, they don’t let their fame define them. They don’t compromise their faith; nor do they assist in building His kingdom just so they can become more famous. Rather, they’ve been set as “lights on a hill” to lead others to Him. I am grateful that LDSPMA provides opportunities for so many people to learn from Sheri Dew, David Archuleta, Orson Scott Card, and others. And I’m grateful that because of those thirty-two simple words from Sheri Dew, I changed how I saw myself as a writer.

Filed Under: Articles, Faith & Mindset, Writing

The Three-Legged Stool of Excellent Writers

January 30, 2017 By LDSPMA Leave a Comment

By Janet T. Perry

A savvy business friend who interviews job candidates once told me he looks for three things in future employees: accuracy, timeliness, and added value. Like the legs of a three-legged stool, each of these “Big 3” qualities bears equal weight in excellent writing.

Why “The Big 3” Matter in a Writer’s World

Accuracy: For a writer, finding a typo published is like discovering your zipper is down. Avoid embarrassing yourself by carefully checking your writing before publishing. This includes paying attention to small punctuation errors, which can not only throw off a reader but can actually change the meaning of the text. Neglecting to use even a simple comma can spell disaster (e.g., “Let’s eat, Mom.” vs. “Let’s eat Mom.”). Perhaps even more essential is verifying content. Misrepresenting information or skewing data can be a turnoff to readers and can make it difficult for you to build credibility and trust.

Just 3 Ideas: Edit and re-edit your work. Ask a skilled and trusted colleague to review your work. Fact-check scrupulously.

Timeliness: Half of falling in love is finding the right person; the other half is finding that special someone at the right time. By the same token, who wants to read a fascinating movie review about last year’s blockbuster? And what good is a captivating company blog if it promotes a hot product released several months ago? When we read something is often as important as what we read.

Just 3 Ideas: Sync your writing calendar with important events, product releases, and upcoming services. Submit work slightly ahead of schedule. Use a friend, incentive, or device to help hold you accountable for meeting deadlines.

Added Value: When I was hunting online for a tried-and-true chili recipe, the photos and reviews all ended up looking and sounding very much the same. However, one recipe used cocoa as a secret ingredient. This tip had me hooked. Trust your own writing expertise to add a little “Wow!” whenever possible. Give readers inside information or ideas to save them time or money, and don’t be afraid to use visual or structural pizzazz to keep them engaged. Employers want to be heard, and they hired you to get their message out.

Just 3 Ideas: Make plain sense of confusing or boring material. Make material reader-friendly by changing the format or sentence structure. Delight your readers with unexpected humor, helpful tips, or interesting tidbits of information.

Putting “The Big 3” into Practice

I get a monthly email reminder about my book group, but instead of dishing up the same old who-what-where-when-why information, our group leader keeps us on our toes. Sometimes she draws us in with a creative subject line; other times she includes a question, riddle, or acrostic poem. Occasionally, she shares a little-known fact to pique our interest in the book (Added Value). We calendar a year in advance so we all know who is reviewing what book and where the meeting will be held (Accuracy), but charming missives like hers would be rendered useless if they arrived after the group had already met (Timeliness)— which they don’t.

No one is ever anxious to read a standard email, a predictable five-paragraph essay, or boring business report. Instead, excellent writers delight readers by giving them what they need when they need it, and they keep them reading by sharing a little extra.

©2017 Janet T. Perry. All rights reserved.

Filed Under: Articles, Marketing, Writing

The 3 Cs of Editing: Clarity, Consistency, and Correctness.

February 26, 2016 By LDSPMA 1 Comment

By Devan Jensen

As editors, we focus on three Cs: clarity, consistency, and correctness.

Clarity

Clarify, but use a light touch. “A light editorial hand is nearly always more effective than a heavy one. An experienced editor will recognize and not tamper with unusual figures of speech or idiomatic usage and will know when to make an editorial change and when simply to suggest it, whether to delete a repetition or an unnecessary recapitulation or simply to point it out to the author, and how to suggest tactfully that an expression may be inappropriate. An author’s own style should be respected, whether flamboyant or pedestrian” (The Chicago Manual of Style, 2.48).

Fix or query ambiguous statements. Make sure the author has a clear sense of audience, purpose, and focus. Check thesis statements, topic sentences, and transitions.

Address excessive passive voice. You don’t need to fix every passive; about an 80 to 20 ratio of active to passive voice works well in most writing.

Consistency

Edit spelling, hyphenation, abbreviations, punctuation, number treatment (numerals or spelled out), table format, and citation format. Consult reference books and reputable websites for spelling of names, historical events, and terms.

Create a style sheet. As you go, make an alphabetical list of names and capitalization or hyphenation of terms.

Edit chapter titles and subheads for consistency. Read chapter titles and subheads in a separate pass. Make sure they are consistent, and get a basic understanding of organizational issues and pacing problems (too much or too little time on any one concept).

Correct capitalization. If authors neglect putting in subheads, add them or ask the author to do so. Subheads are the road signs to get from here to there; without them, the reader is lost.

Correctness

Check facts and figures. If the author claims that Uncle Heber was born in 1920 and died at age eighty, check the math. Write down the solution in the margin (so others will know that you checked).

Check sources. Ensure accuracy of quoted information and source citations. Watch for plagiarism (quoted information without quote marks). Query missing information.

Check notes for completeness. Look up missing information or query the author.
Prepare front matter for books. Produce clean copy for half title, title page, copyright page, and contents page. Double-check chapter titles for accuracy.

Reread for accuracy. Skim through the manuscript again to catch errors you missed while fixing other problems. This pass is where you will catch small but significant errors—or even, heaven forbid, that glaring error in the title or contents page.

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Filed Under: Articles, Editing, Writing

Katherine Farmer’s “Cracking the Story Code”

November 18, 2015 By LDSPMA 2 Comments

By Amy White

Cracking the Story Code: Increasing a Work’s Success through Age-Appropriate Plot Patterns (An Introduction)

Each stage of human development has a corresponding plot pattern. Because of this, young readers will either accept or reject a work depending on whether it parallels their patterns of thought.

Finding the right plot pattern for each developmental stage doesn’t take a degree in Piagetian philosophy, but it does help to have the insight of one who has studied human development and how it can be applied to narrative works.

There are five plot pattern “pure forms,” three of which are drawn from Aristotle’s classic model:

1. Simple: Single goal plot pattern, in which the entire action seeks to resolve the initial problem, with clearly defined beginning, middle, and end. Often found in children’s picture books such as The Cat in the Hat or Alexander and the Terrible, Horrible, No Good, Very Bad Day.

2. Episodic (two varieties):

a. Nesting Episodic: Self-contained story units that pile up on each other, but are not connected with a story line. Same characters, new stories (e.g., Christmas Story, Dahl’s Charlie and the Chocolate Factory).

b. Latticing Episodic: Open-ended story units that spiral and pile up cumulatively. Same characters with multiple stories where there is an over-arching story line through-out (e.g., Lobel’s Frog and Toad are Friends, and many of today’s television series).

3. Complex (Level 1): Single on-going action that includes the element of surprise, at least one reversal, and a recognition process. These works are psychologically complex, but with action that is not hard to follow (e.g., most one-act plays, Patterson’s Bridge to Terabithia, Oedipus Rex).

And, after the study of more than 2,000 works in 10 geographic regions in 320 library systems, two more plot patterns emerged:

4. Cumulative: Incidents that pile upon other incidents with the only unifying tie being the central character (e.g., The Gingerbread Man, There Was an Old Lady who Swallowed a Fly).

5. Paralleling: Multiple story lines that run parallel to each other, at the same time. Each story line is unique, and usually pulled together by the end (e.g., Pinballs by Byars, television series such as Modern Family).

Pre-Operational Thought: Zero to Seven-year-old Children
This Intuitive phase of development prefers simple and single-goal patterns as found in the Simple and Cumulative plot patterns—patterns where the entire action seeks to resolve the initial problem. Narratives that have a clearly defined beginning, middle, and end. Works such as Seuss’s Cat in the Hat. These children judge by a single clue, are preoccupied with the parts of the whole, as they are not able to see the forest for the trees, and will always judge a work by its end—not the process that got them there.

Concrete Operational: Seven to 11 year old children.

The awareness that others do not share their personal perspective identifies this age group. The discovery of other points of view leaves this age with a need to verify their ideas with concrete evidence supporting their view. This age prefers a narrative that has neat and self-contained units, like those found in episodic plot patterns. Examples include Lobel’s Frog and Toad Are Friends, up to the mixed nesting and latticing episodic pattern of Rowling’s Harry Potter and the Sorcerer’s Stone. The need for this age to have near reality–with the fantastic taking place within the home, or nearby. Dahl’s Charlie and the Chocolate Factory is considered nearly unbelievable, until the concrete and seemingly real machines are introduced. Machines that can be felt, seen, and heard, that then justify the existence of the remarkable and fantastical the story contains.

Formal Operational Thought: 12 year old children, young adults, and cognitively mature adults.

As a child’s thinking matures at age 11 or 12, they are capable of shifting to a higher and more complex level of thought, and Complex plot patterns. This shift usually settles into an equilibrium by age 16. At this point they begin to find irony as a form of humor, along with satirical works that contain hidden and subtle meanings. Interweaving, paralleling stories—works with multiple plots and subplots—like those found in Collin’s Hunger Games, or Tolkien’s Lord of the Rings, along with Shakespeare’s works are found to be comprehensible and even fun.

The above plot patterns are not a complete listing, there are mixes and variants that branch off of, and blend, the five “pure forms.” Variations that also bring in differing developmental ages. It is merely a launching point for delving into the powerful impact that appropriate plot patterns can have when they are matched to appropriate developmental stages. You will find that, as you match your work’s target age with their developmental capabilities through deliberate plot management, you will be keeping those audience gateways open. And we as producers of narrative works should always be looking for those gates. Every mental gate you successfully identify and keep open will put you yet another step closer to influencing the world for the better through your good works.

Filed Under: Articles, Featured Works, Writing

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