Priming the Pump #MFRWAuthor

The expression “prime the pump,” comes from the necessity to move water from one location to another, using a pump, whether manual or powered. Prior to actually transferring the water you need to put water into the pump itself, so the introduced water moves with less effort

Lenticular Cloud in the Morning...almost looks like an alien vessel. Hey, it's New Mexico

Thinking of writing, the activity of writing as a well of ideas moved along by the effort of creativity, it’s easy to relate the concept of priming the pump. Living in a drought prone environment encourages that parallel. The parallel is even more relevant when I find my creativity well has run as dry as the well out front of my house.

To prime that pump, I go to my personal inspirations: David Farland, the ever so irreverent Chuck Wendig, and marketing guru Seth Godin.

During NaNo month, Wendig’s blog was a non stop cheering section for those racing toward word count Finish Your Stuff Once November was behind us he put it in perspective. The very act of writing is a win no matter how many words made up your final count.

Lost Civilizations? Mountain Refuge?

David Farland’s Be Excited provided a great kick in the rear for those coming off the NaNo WIN high or the Didn’t Make It low. We must remember our passion for what we write.

You might wonder about using Seth Godin for inspiration unless you follow his pithy blog. As writers we are marketing our words and ourselves constantly. Doing so in a sane and constructive manner saves wasted time and avoids losing readers (customers) to poor communication. Where To Start ... You don't have to wait for perfect or large or revered or amazing. You can start.
On occasion I've primed that pump with the books of writers I admire. What a great reason to read instead of mopping the floor!

That Lenticular cloud at sunset. How many ideas can this spawn?

For other creative encouragement I walk outside and fill myself with high plains beauty. Not everyone appreciates wide vistas and lack of close neighbors, but it soothes my soul.
Unrelenting sunshine, no matter what the temperature, not to mention a vast array of stars at night, more than makes up for that long trek into Agility class. We have a bakery, a library, a great restaurant. What more do we need?

In fact I’m sitting at the back of that restaurant right now, hoping the relative quiet will help the fingers find the right keys. Or maybe just the change in environment. Heck who am I kidding, I was hungry for Chile Relleno and eggs!

Creating a Newsletter—The First Page by Rochelle Weber, Newsletter Editor #MFRWorg

In November, we covered creating a header for the first page of a newsletter. Since the MFRW Newsletter broke ninety pages, we’ve discussed the difference between a newsletter and a magazine.  One of our members posted an article that discussed the differences.  Length was one.  Most newsletters run between one and twenty-four pages.  I guess we passed that a few years ago.  Another major difference was the cover.  Most magazines have a photo on the cover with a headline and teasers about the content inside, which usually consists of articles and advertising in non-industry-specific language.  Newsletters tend to have articles on the front.  Of course, I like to add some sort of artwork to the front of my newsletters as well.  It would be a pretty dull publication without some sort of illustration.

So, how do I lay it out?  I add text boxes for the articles I put on the front page.  In the case of the MFRW Newsletter, we put our Featured Author on the front page.    We start with the person’s biography one the left and an interview on the right.  We put the author’s photo in the top right-hand corner, and if there’s room we put his/her contact info in a box at the bottom left.  Again, I use IrfanView to size it.  I like 1.5 inches wide, and I keep the aspect even and let IrfanView decide the length.  We outline the Contacts box in pink.  Our headings are in brown and the links are in hot pink.  The text box for the biography takes up about one-third (1/3) of the width of the page.

As for the interview, the submission form contains several questions for each author to choose from—some serious ones about the craft of writing, some funny ones that may give us an insight into the author him/herself.  And it just occurred to me that since we’re a marketing group, I should probably ask about their favorite marketing technique. I’d better add that to the form as soon as I finish this so I don’t forget!

Depending on how well that fits in the remaining two-thirds (2/3) of the page, it can be one wide column or two narrow ones.  I’ve found that when info doesn’t fit in one column, it sometimes will fit in two. To create columns in Publisher, click on the Columns Icon next to the Paragraph Icon (¶) just to the right of center on the top toolbar.  It should give you a drop-down icon that allows you to choose the number of columns you want by highlighting the columns in the icon.  You’ll then have two columns that are exactly the same size.  To increase the size between columns, go to Format, Text Box, click on the button in the lower right-hand corner that says Columns, and where it says “Spacing,” change that number.  I like 0.25 best.  If I figure out a way to make that the default, I’ll let you know.

Now, all you need to do is figure out what you want to put on your front page!

And, going back to the difference between a newsletter and a magazine, I’d love to add more articles to the MFRW Newsletter.  It’s definitely big enough to be a magazine.  Just think, me, a magazine E-I-C.…  I still wouldn’t get any money for it, but it’d look good in my bio!  Wouldn’t you folks like to be the Cover Models for a magazine?

Rochelle Weber is a Navy veteran and holds a BA in Communications from Columbia College in Chicago with an emphasis on Creative Writing. “Would you like fries with that?” Her novels Rock Bound and Rock Crazy are available in both e-book and print. She edits for Jupiter Gardens Press, and is the Editor-in-Chief of the Marketing for Romance Writers Newsletter, winner of the 2013 Preditors & Editors Readers’ Poll for Best Writers’ Resource.

Rochelle battles bi-polar disorder, quipping, “You haven’t lived until you’ve been the only woman on the locked ward at the VA.” Her song, “It’s Not My Fault,” won a gold medal in the National Veterans Creative Arts Competition. She lives in Round Lake Beach, Illinois. She has two married daughters, four grandchildren, three step-grandkids, and one step-great-grandkid. Two cats allow her to live with them and cater to their every whim.

You can access the MFRW Newsletters at:

https://groups.yahoo.com/neo/groups/MarketingForRomanceWriters/files/MFRW-Newsletters/

Or:

http://issuu.com/mfrw/docs

Author-to-Author: Talking Dialogue @AuthorLyndaB #MFRWauthor

Talking About Dialogue

So, we’re talking about dialogue. In my humble opinion, dialogue is an intricate part of storytelling—of getting the reader into the story— because it’s an extension of the characters’ personalities. Dialogue isn’t something the reader should ever have to think about. It should just…be. It should be an even flow, a give and take of conversation. If the dialogue reads stilted or forced, the reader is probably not going to hang very long with the book.

The first rule to writing believable dialogueis to make sure it jives with whatever time period you’re using in the story. If you’re writing a Regency story or a Civil War saga featuring slaves, you better be on your game with regard to those vernaculars. I got dinged in a review of my historical western romance because the reader felt I used 2012 terminology for a story set in the 1880s. Ouch! The last thing you want as an author is to have your reader yanked from the story.

Maybe that’s why I choose to write contemporary romance. No need to worry about the proper Scottish dialect for me. But even with contemporaries, you have to be careful. I personally love to use words like “gonna,” “hafta” and “kinda” in dialogue—Spell/Grammar Check be damned. This is how people talk in real life so it’s how my characters are gonna talk. Think about Morgan Freeman in Driving Miss Daisy. Did he say, “I am trying to take you to the grocery story.”? Uh, no. He said, “I’m tryin’ ta take ya to da store.” Huge difference.

The other thing to keep in mind when writing dialogue is, if your character can say something in five words, have them say it in four. Short, snappy lines makes the reading go faster because more pages are getting turned. It also puts more *white space* on the page. And readers loooooove white space.

As a reader, one of my pet peeves is when the author uses a bunch of he said/she said or he asked/she asked in dialogue. Rather than having Sally say blah, blah, blah, have Sally do something. If she’s upset, have her stomp a foot or glare at the hero. If she’s being coy or shy, have her swish side to side or twist her fingers together. Remember that pesky, yet brilliant advice: show, don’t tell. Don’t tell me who’s talking, but show me by having some action during the dialogue. It helps to solidify the characterizations and makes for a (hopefully) more enjoyable read.

Okay, so I’ve voiced my opinion about dialogue. Do you agree with me or am I barking up the metaphorical tree? Shout out your thoughts and opinions.

Contributed by MFRW author Lynda Bailey.
I’ve always loved stories, especially romances. For me the only thing better than reading a romance is writing one. That and drinking red wine while eating dark chocolate.

My romances are full of passion, with heat levels that range from hot to sizzling! I'm proud to have been a 2010 finalist in the prestigious Golden Heart®. Please join me for laughter and love, and where the good guys always win in the end.

I live in Reno with my husband of thirty+ years and our two pampered pooches.

Lynda's latest book is Shattered Trust, a contemporary BDSM erotic romance.

Kate Landry trusted the wrong man and paid dearly for her mistake. But she survived and raised her daughter alone. At forty-two, Kate has a good living as the owner of the Bluebird Saloon. But she’s forgotten how to live. That is until he comes into her bar…

Liam St. James loved a girl once. And only once. After an accident paralyzed her, she didn’t trust he’d continue to love her. Liam left and discovered a world where women did trust him—to be their Dominant. He’s a master – literally, but the request from the stoic bar owner will pose his greatest challenge yet…

Kate and Liam embark on a journey to uncover repressed urges and to discover new desires. They also fall in love. But when you’ve been shattered as badly as they have, loving is easy. Trusting is harder, especially when the heart is involved…

Learning to love is the easy part...

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