Vlog: How to Move Affordably with Lots of Books

Moving is expensive and moving when you have a lot of books, even more so. So today I'm sharing how I moved with over 100 books without breaking the bank. 


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Have you ever moved with a sizable library? 

Twitter-sized bite:
Getting ready for a big move & not sure how to affordably transport your library? @Ava_Jae shares how they did it. (Click to tweet)

On College and Authoring

Photo credit: Sole Treadmill on Flickr
I frequently get questions from writers about what degree they should do if they want to be a published author, or what I learned from my schooling so far that helped me get published. And up until very recently, where I've started schooling specifically for writing children's books, the truth was my schooling was a thing I did alongside my writing, not something I did specifically to write.

Of course, my situation was not the same as many. I'd been writing all through high school and was largely self-taught. I devoured books on writing, blog posts from people in the industry, and wrote manuscript after manuscript. By the time I transferred over to my alma mater to get my BA in English, I already had an agent—and just two months into my BA degree I got my debut book deal.

So when people asked me up until recently if I went to school to be an author, it felt disingenuous to say yes. Because the truth was, my education hadn't really done much to make me a writer—I did that on my own.

Now things are a little different, however. Now I'm starting my MFA in Writing for Children, which is very much intended to further push me as a writer and also hopefully open up some doors for job opportunities down the road directly related to children's literature. But my main focus is very much to improve my skills and expand my writerly repertoire.

I do want to emphasize though: I didn't have to go to college to get published. No one does.

When I was first deciding what to do, college-wise, all the while knowing my ultimate goal was to become a published author, a degree became important to me not to help me write, but to help me get a job that'd allow me to support myself while I write. So I could've gotten a degree in just about anything, really, but after dipping my toes in the film world I decided I'd be happiest getting a job analogous to writing and children's books—even if not directly publishing-relating. That was the option I've decided was best for me, but that's not going to be the best option for everyone.

Some writers are also doctors, or analysts, or teachers, or fishers. Some are booksellers, or scientists, or nurses, or event planners. I think the main thing that's important when considering college is keeping your expectations grounded and understanding that making a living as a writer isn't easy and often takes a lot of time. So when considering college, I encourage writers to consider how they'd like to make a living outside of writing and then go from there.

Starting school specifically for writing will be a new experience for me—and one I'm looking forward to. But ultimately, for me, this was another step toward figuring out how to make a living in a way that I'd enjoy—and that requires openness and exploration I'm grateful to have the space for.

What do you think? 

Twitter-sized bite:
Do you need to go to college to get published? @Ava_Jae shares their experience getting published while at school. (Click to tweet

What’s Driving Your Plot? by Janice Hardy

Hello, friends! Today I've got a special guest for you guise, Janice Hardy, author of The Healing Wars trilogy and several writing books, most recently Understanding Conflict (And What It Really Means). Hope you enjoy!

Conflict encompasses a wide scope of problems and situations, and can be as varied and interesting as you want to make it. But no matter what type of conflict a character faces, it presents a challenge in how to resolve the conflict. That challenge leads to a choice on the best course of action, and that choice forces the character to act. And that’s good, since those challenges, choices, and actions create and drive the plot (the combination of internal and external conflicts). Without conflicts, the protagonist would have no problems at all, and there'd be no story.

On one side, we have the external conflicts. These are challenges the protagonist has to physically overcome to resolve the core conflict problem (and all the smaller problems along the way). They’re the actions she takes to fix the problems preventing her from getting her goal. They’re what make up most of the action in the plot, since this is what the protagonist does from scene to scene.

For example:

  • Protagonist wants to find her missing sister, but someone has stolen the security tapes covering the parking lot she was last seen in.
  • Protagonist wants to impress her date on their trail ride, but she has no idea how to ride a horse.
  • Protagonist wants to surprise his girlfriend with breakfast in bed, but he has to get her kids out of the house first.

External conflicts are based on how the protagonist uses her intelligence, skills, and resources (or lack thereof) to overcome an external challenge. The key thing to remember with external conflicts is that resolving them takes action—the protagonist does something. While she might take a moment (or longer) to come up with a plan to overcome the challenge, it’s what she does that resolves it.

Generally speaking, the scene will unfold like this: The protagonist will be trying to achieve a goal when she’s presented with a challenge (she’s trying to do something in a scene and something stops her—the conflict). She’ll either react on instinct and try to overcome that challenge, or take time to decide what to do (how much time is up to the writer). The difficulty of the challenge, the level and type of conflict, and the competence of the protagonist determine how that challenge is resolved. What happens at the end of the challenge leads to the next goal of the plot and the next challenge.

This is essentially plotting in conceptual form. Pursue a goal, face a challenge, outsmart or overpower it, proceed to the next challenge with a new goal.

Of course, just watching someone complete a series of tasks can get boring after a while. Most external challenges just require skill, strength, or intelligence to overcome, others will be much harder to resolve due to personal issues. To counter potential task boredom, another layer of conflict is often added to keep the story interesting. This is where the internal conflicts kick in.

Internal conflicts are the emotional, ethical, or mental struggles a character faces while trying to decide what to do about an external problem. The challenge isn’t a physical thing in the way, but a struggle within the protagonist to make the right choice. It’s the mental and emotional debate the protagonist needs to have in order to resolve an external problem.

For example:

  • Protagonist wants to save her missing sister, but doing so will reveal a secret she can’t afford to have known.
  • Protagonist wants to be loved, but her refusal to compromise keeps her alone.
  • Protagonist wants to romance his girlfriend, but he doesn’t want to risk making her kids mad and their not liking him.

An external task that’s easy to complete can be made difficult by adding an emotional roadblock. What needs to be done is clear, but the protagonist doesn’t want to resolve it that way for personal reasons. Either the right choice has consequences she doesn’t want to suffer, or there is no good choice—whatever she does has serious ramifications.

Internal conflicts are based on who the protagonist is and what has happened to her in her life, and this past makes it harder for her to make decisions and resolve her external challenges. They typically come from the morals and ethics of the character, and more often than not, choosing one side negates the other and the protagonist can’t have it both ways.

Internal conflicts are great opportunities to put the protagonist in the hot seat and force her to decide who she is and what she stands for. How far is she willing to go to help a friend? What will she risk? What does she value? Her struggles while making a decision shows readers who she really is as a person.

Mixing the two create a plot- and story-driving engine that keeps readers invested in what problems might be faced and where the emotional challenges will come from. It not only piques readers’ interest about what could happen, but it makes them wonder why, and anticipate how the protagonist will overcome the conflict.

So, what’s driving your plot?




Looking for more tips on creating conflict? Check out my latest book Understanding Conflict (And What It Really Means), an in-depth guide to how to use conflict in your fiction.

Janice Hardy is the award-winning author of the fantasy trilogy, The Healing Wars, and multiple books on writing, including Understanding Show, Don't Tell (And Really Getting It), Planning Your Novel: Ideas and Structure and Revising Your Novel: First Draft to Finished Draft. She's also the founder of the writing site, Fiction University. For more advice and helpful writing tips, visit her at www.fiction-university.com or @Janice_Hardy.

Vlog: On Making Changes Part-Way Through a Draft

So you're part-way through your first draft, and then you realize...your story's headed in the wrong direction. Or you need to make a major change. Or both. But how do you handle this realization when partway through your first draft?



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Twitter-sized bite:
What do you do if you realize mid-1st draft you've made a big mistake? @Ava_Jae talks handling first draft trip ups. (Click to tweet)

Fixing the First Page Feature #38

Photo credit: Matt Henry photos on Flickr
September is nearly here, retail stores are transitioning to their fall collections, and summer is at an end. But of course, the end of the month means it's time for the next Fixing the First Page feature!

As usual, I'll start by posting the full first 250 excerpt, after which I'll share my overall thoughts, then my redline critique. I encourage you guys to share your own thoughts and critiques in the comments (because I'm one person with one opinion!), as long as it's polite, thoughtful, and constructive. Any rude or mean comments will be unceremoniously deleted.

Here we go!

Title: DRAWN IN 2

Genre/Category: YA fantasy (light)

First 250 words:

"She's dazed, the white of her nightshirt standing out like a beacon in the moonlit forest, but it's the circle of guns pointed at her that captures my attention. Four Enforcers surround her, and as I watch from my hiding place behind an oak tree and try to get my bearings, inexplicably, they laugh. 
'A little confused, Traveler?' It's the leader who speaks, his rough voice amused at this poor girl's blinking bewilderment. If his beefy stature towering over the others isn't clue enough that he's in charge here, his unremarkable unhandsome face is. It's Donovan, and although the fact that he's not currently threatening me is a nice change, I still shiver, knowing exactly what this stranger in pajamas is feeling. 
'Am I... am I dreaming?' She turns a full circle, taking in the men surrounding her. She tosses her long black hair over one shoulder and tentatively reaches out to touch the barrel of one of the guns. 'It feels so real.' 
My pulse speeds up and I steady myself, leaning into the tree. I should intervene somehow, do something. But what? I'm as unprepared as this girl is, ripped from my bed in the middle of the night—no warning, no weapon--just me in my Ravenclaw PJs, bare feet sinking into the soft grass. At least I've been here before. This Traveler isn’t quite as savvy. 
Donovan sneers. 'Dreaming, huh? Funny, that's what they all think. I keep hoping one of you will be original someday.'"

Interesting start! I like that we're starting in medias res (which is my personal favorite kind of opening), and some of the details and thoughts in there from the narrator definitely helped ground me, even as I tried to figure out what was going on. All in all, pretty well-built foundation here.

Now for the line edits!

"She's dazed, the white of her nightshirt standing out like a beacon in the moonlit forest, but it's the circle of guns pointed at her that captures my attention. Adjustment made both to cut wordiness and remove filtering. Four Enforcers surround her, and as I watch from my hiding place behind an oak tree and try to get my bearings, inexplicably, they laugh. 
'A little confused, Traveler?' It's tThe leader who speaks, his rough voice amused at this poor girl's blinking bewilderment. If his beefy stature towering over the others isn't clue enough that he's in charge here, his unremarkable unhandsome face is. It's Donovan, and although the fact that he's not currently threatening me is a nice change, I still shiver, knowing exactly what this stranger in pajamas is feeling. Again, suggested cuts are to lessen wordiness and remove filtering.
'Am I... am I dreaming?' She turns a full circle, taking in the men surrounding her. She tosses her long black hair over one shoulder and tentatively reaches out to touch the barrel of one of the guns. 'It feels so real.' 
My pulse speeds up and I steady myself, leaning into the tree. I should intervene somehow, do something. But what? I'm as unprepared as this girl is, ripped from my bed in the middle of the night—no warning, no weaponjust me in my Ravenclaw PJs, bare feet sinking into the soft grass. Love the Ravenclaw PJs detail! Not only is it a great image but it tells me a little more about your protagonist. At least I've been here before. This Traveler isn’t quite as savvy. 
Donovan sneers. 'Dreaming, huh? Funny, that's what they all think. I keep hoping one of you will be original someday.'"

Okay! So the main thing I'm noticing here is wordiness throughout, which is super common, so no worries. I recommend going through your manuscript and reading it aloud—that can help make it easier to spot when you're saying something in five words you can say in two, or when the flow stumbles.

Otherwise, I think this is a pretty solid start. I'm definitely intrigued, and if I saw this in the slush I'd totally keep reading. :)

I hope that helps! Thanks for sharing your first 250 with us, Sioux!

Twitter-sized bite:
.@Ava_Jae talks wordiness, details and more in the 38th Fixing the First Page Feature. (Click to tweet)

Fixing the First Page Winner #38!

Photo credit: mickeychor on Flickr
Quick off-schedule post post to announce the winner of the thirty-eighth fixing the first page feature giveaway!

*drumroll*

And the thirty-eighth winner is…

SIOUX!

Yay! Congratulations, Sioux!

Thanks again to all you wonderful entrants! If you didn't win, as always, there'll be another fixing the first page giveaway in September, so as always, keep an eye out!

Vlog: What Happened to New Adult?

What is New Adult and what's the status with the category in 2017? Today I talk about this in-between category and where we're at with it today.


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What do you think? 

Twitter-sized bite: 
Want to traditionally publish your NA MS? @Ava_Jae talks your best two options: aging up or down. #vlog (Click to tweet
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