tools for writers

What Readers Want

Time and time again you’re told to identify your reader, to write what your reader wants to read. Wouldn’t it be nice if you could look into a crystal ball and find the perfect reader for your book? crystal ball by Jeffrey Beall

Have you tried to research what the reader wants? An internet search will give you more than 29 million results! Are that that many things readers want? Yes and no. The things readers want are greater than the number of readers. So what’s a writer to do?

Learn the basics.

1. We are born storytellers. Our sense, or need for, story is inborn. Need proof? How about 40,000+ year old cave paintings? How about the questions we ask? How was your day? Did you see the whopper I caught? Did you hear the whopper I told?

2. Learn about the psychology of story.

3. Learn what a story is.

Tell your best story.

1. Understand that your job as a writer is to tell a story about a character who wants something desperately and to make her struggle to achieve that goal.  If there is no struggle, no obstacles, no opposition, there is no story.

2. Learn how to craft a story, There is tons of advice out there on the wild web. Don’t just go with web learning. Find books by authors whose stories you love. I have a list of resources here.

3. Hone your craft. Learn to write a scene.

Learn who your readers are.

1. If you don’t have a mailing list or anything in print yet, look at your own reading habits. Pick one of your favorite books and look it up on Amazon. Look through the reviews for that book. What did the reviewers love? What did they hate?

If you’ve already got books out you can do several things.

Mine your mailing list. What can you learn from the names and addresses? What can you learn from comments left on your blog or emailed to you?

Use tools like the ones this post suggests.

Interview your readers. Or, look at the reviews you’ve gotten. Did your readers love your characters but think your setting was weak? Did your readers love the secondary characters? What did they not like? Careful with this one, you’re not looking for negative reviews, you’re looking for what your readers didn’t like or wanted to see more of.

2. Know the genre of your story. But my book is a blend of several genres you say. Sorry, you have to pick one that is your primary genre. Why? Because when you go to buy a breakfast food at the grocery you don’t go to the this-and-that aisle. You go to the meat section or the cereal aisle, then you make a selection. So you choose one primary genre and you make certain the obligatory scenes for that genre are present. Help your readers find your story.

Can’t decide which genre is your primary? Go to Amazon or other book sellers and look at the descriptions of books that are like yours. What’s the genre? Still can’t decide? Get a refresher on the basic genres and try again.

3. Study the bestsellers lists. No, don’t follow the trend. Read the best sellers in your genre. Figure out why readers love those books. Don’t copy the books, but take the elements that make them popular and use those elements in your own fiction.

Refine. Refine. Refine.

1. Improve your craft. Always. Get feedback from peers and professionals. Learn more about the craft.

2. Practice. Practice. Practice.

3. Listen to your readers. Always. That doesn’t mean give them exactly what they say they want, it means listen. Honor them by writing the best story you can with the elements that they love.

There are hundreds and thousands more references available to you. Reach out. Search for them. Get to know your readers. Your readers will thank you.

To help us all get to know readers better, I am running a series of Reader Interviews (with a tip of the hat to the Actor’s Studio). These aren’t limited to my readers. I’ve asked friends, family, anyone who reads to take part in this. Please help me thank them for their time and candid answers by reading and commenting. Look for the first in that series next week.


Image courtesy of Jeffrey Beall via

Fun with Words

Weekends are often devilishly devine. We have wickedly good fun, clean dirt from our homes, watch friendly competitors, and otherwise turn ourselves inside out trying to do more, be more, have more. Then comes Monday. Monday is the antithesis of the weekend. So today, let’s talk about phrases that pair two words that are the antithesis of each other. That’s right. We’re talking oxymorons. Rather, Dave and Randy are singing oxymorons. Have a listen.

The Oxymoron Song

There are countless numbers of oxymorons. How many did you identify in the song? How many in this post?

Surely Dave and Randy didn’t include all the oxymorons out there.

What’s your favorite oxymoron?

Old Fashioned Typewriter Keys

A Home Grown Power Plotting Weekend

Old Fashioned Typewriter Keyboard

By Kristin Nador

In my not so humble opinion, character’s and their distinct voices is one of my writing talents. But plotting stories — not so much. Having been a pantser from day one of my writing career, plot has been a second or third step, carved into shape through one excruciating revision after another. So when I read Ginger Calem’s glowing report of a power plotting weekend she participated in early this spring, I was pretty envious. Short on budget and time, I decided to devise my own power plotting weekend with the help of my writers group. We have just concluded our first Power Plotting weekend and I think each of us would highly recommend that you try it yourselves.

The Set-up

Based on Ginger’s experience, I bought the book, Break Into Fiction: 11 Steps to Building a Story That Sells and read it. Then, read it again. I had a couple of email conversations with Ginger. Then I sat down with my writer’s group and explained what I wanted to do. I have to say, my writer’s group is a terrific group of people with a wide variety of education and experience. They were open to try as long as I took the lead on this one.

I used information from a number of sources: Mary Buckham and Dianna Love’s Break Into Fiction, Save the Cat by Blake Snyder, Larry Brooks’ Story Engineering, The Script Lab and a number of other sources. I wrote up an agenda, forms that could be used to help develop your plot, and examples of how those forms would be used. We discussed these things briefly at one of our regular monthly critique sessions. We also discussed that we would try not to critique the ideas but to ask leading questions or make suggestions in as positive a manner as possible. No one would be forced to participate more than their personal comfort level would allow. We wanted to nurture these ideas so they could be grown into full blown stories. We decided to meet a minimum of three different times during the weekend, with the expectation that we would go home and work on our stories independently between each meeting.

We planned to meet at a restaurant for the first evening, then meet at our usual location for our monthly critique sessions for the rest of the weekend bringing potluck meals.


Most of us submitted at least a paragraph of a story concept via an email group a day or two ahead of time. Each time we met, each author had a brief amount of time to present his or her story concept. Group members asked clarifying questions and asked questions about structure of the author. It was enlightening to see how the others came at their stories and even more enlightening to have questions asked that forced one to focus the story better. I think we each left each meeting with our brains buzzing with information and ideas. Each time we met again, the author had a stronger and stronger vision of his or her story. Characters and situations were fleshed out. Structure problems were identified and in some cases resolved. Story logic was developed or reinforced.

It was one brainstorming session after another and it was glorious!

Lightening strikes from the naked brain / by Christos Georghiou

In the End and in the Future

Actual scene-by-scene plotting was not accomplished this weekend. But each of us agreed that there had been a lot of value in stepping back from the detailed critiques of manuscripts we’re used to doing to look at story structure. In fact, we’ve decided we’ll be doing it at least once every year!

This worked for us because we respected each other’s ideas and abilities. It worked because each of us was willing to do the work on our own. It worked because we attempted to meet each author’s needs for his or her particular story.

We will set up our time a little differently next time. The restaurant was too noisy and distracting. Perhaps next time we’ll end the weekend with a meal at a restaurant or a pizza party instead of beginning there. We will keep the format of the author presenting his or her idea and the problem he or she would like to work on. We’ll use the question / suggestion method of exploring the author’s story problem. But we won’t call it a Power Plotting Weekend, we’ll call it a Writer’s Weekend.

I’d love to hear what you think. Would you be willing to discuss your story ideas in a small group like this? Or do you keep your stories secret until they are on the page?

And don’t forget. Next week our first stop on my Going to Mars, Word by Word when I comment on Edgar Rice Burroughs’ A Princess of Mars