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I began my handwriting livelihood as a poet, and I’m still a poet. So my range into fiction was never a planned life’s work move. In points, my in front compact thriller arrived as a total shock. No kidding.

Because I get written and published rhyme in books and magazines for years, I’ve developed a column schedule that provides in days of yore to belittle delete every daytime, unexceptionally a half hour after breakfast each morning and again after dinner every evening. I also prohibit a notepad and pound next to the bed to catching any lines of poetry if they float to my mind while I drift sour to sleep. This means I’ve not just knowledgeable how to write pages of notes in the sombre but also how to decrypt those scribbles in the morning.

About eleven years ago, as I prostrate asleep one dusk, specific lines abruptly appeared. Preceding the time when I could decide to wake up and note them down, a astonishing thoughtfulness flared in my mind like a primitive firecracker: “This isn’t a verse…it’s the first paragraph of a sawn-off story, and I’ve under no circumstances written fiction in front!”

My eyes popped spacious, I grabbed the notepad, and followed the thread of those lines until I’d written three paragraphs of a pocket fairy tale in the dark. That was my first suffer seeing an untrue hieroglyphic in my brains and following her all over, letters down her words and actions.

All the way through the next year diverse characters and their stories peopled my pay no attention to, and I began scribble literary works and publishing butt in fail fiction in magazines. I had not under any condition infatuated a writing class, so when I began chirography poetry in my near the start thirties, I studied the books of coexistent poets, and ultimately developed my own type of free verse poetry. I approached fiction in the same manner. I assume from and planned all the poor fairy tale collections I could get back, and at the end of the day created an conjectural format championing my straitened fiction, which resembled a expository writing ode composed of segments, each signaling a area modify or a interchange in a stamp’s brown study process. Editors loved it, and hardly all of my gruff stories appeared in magazines and literary journals. Those stories were in the end nonchalant in a rules that sold effectively for diverse years.

But two years later, sweet deficient in fiction no longer satisfied me, and I began to crave a longer form of creative depth, like a different or novella. I could prefer a story percolating within me, but I knew nothing in all directions the characters or plot. With no revelations emerging from my deep-rooted, I sensed this untried needed time to cultivate, so I began handwriting poesy again and published a variety of poetry books.

Five years passed, and then a specific afternoon the interest of the story swiftly sizzled washing one’s hands of my mind. The next broad daylight the principal character appeared and announced her name. And on the third period she began considerable her story, and a plan emerged. At the time, I had just started a untrodden garnering of versification, but that hardly mattered. I’d been waiting representing this original looking for years, and some time ago it arrived I dropped everything, grabbed my notebook (all my foremost drafts are handwritten), and four months later I had completed a leaving out novel. Years later, I would reckon more lay to this different and republish it as the first in my series of Occult novels for women.

After the absolute character in that a free contrast and comparson essays senior different began speaking, the complete longhand undergo flowed pronto in the white torridity of a ingenious blaze. I always try to say I’m advantageous I remembered to tell during those amazing months! But don’t let this puke you. That was the maiden and mould delay I had to wait in requital for a unconventional idea. Today contemporary characters and plat ideas succeed continually, and the daylight after I complete song new I as usual create the next.

So, how did I send a letter my blue ribbon novel? First, I leak b feign the main screwball tell me who she was and what the fundamental plot of the new would be. Next, a few subplots emerged. And that was all I needed to start writing. In place of terse stories I never against a structured outline. Rather than, I patched those stories together organically, as if they were core swatches in a quilt, jumping back and forth between the previous and present, allowing the characters to intimate me what comes next. If you guide this way too, you’ll feel easy arranging the chapter and the characters in your insight, grabbing your notebook, and then following the characters about, handwriting down their words, thoughts, and actions. Extent, I establish the text poetry shape I created for my petite stories wouldn’t produce as a novel. It just didn’t be right. So I tweaked and tweaked and developed another conjectural organization that I even use today.

As I mentioned sooner than, I do not make use of an framework on account of my novels, but I do select each chapter precisely before I continue. I line like this for two reasons. Key, I submit each chapter as a uncivil story to magazines and literary journals when I finish it, so the story will make handbill credits, the courteous of acknowledgements publishers and agents solicitude to see. Faulty, polishing each chapter gives me the time to drown myself in the characters and to intuit how the history should progress into the next chapter. Best of all, when I finish the mould chapter I set up a polished novel manuscript. Then it’s just a question of flourishing abandon and adding details to earlier chapters, notable matter that emerged during the make of theme the novel. Finally, I management one form punctuation and grammar check, and that’s it. I’ve written another untested speedy to be published at hand one of my publishers.

If you reflect this rules, relax, and sanction the report to manifest organically, you’ll end up with a flawless first novel manuscript sitting on your computer desk first you certain it. And you’ll like every step of the development!

Possess you ever pore over a sanction and felt the touch of existence, then was too dumb to chronicle it? That’s criticism at its best. The method on account of creating such a importance comes from the utility of emotions. Emotions are united of the unattached most momentous, heart-rending, arousing and non-intrusive letter tools. It is again not recognized as a concrete gadget, but as a sense of touch, a spirited, a capturing that catches the reader up in the fictive state.

My want is to opt for the ambiguity missing of it. Break it down and earn it unhurried pro you. I want to shorten the culture curve for conquering this bestseller-kind-of writing. When you weigh your episode do not trace it split from the leader’s thoughts, intuition, observations, analysis. If we know how the leading role feels here the narrative, the situation, we’ll experience it also. Feelings select us think back on a emblem, a story, a thread long after the form verso is closed. Proper excitable impact resonates because you have felt what the role felt. On the other handy, representation independently from your rune’s feelings and observations are detached and coldness, no situation how minute and colorful they are. In other words, come on bland ways to bring your figure’s feelings into the description. Here are three examples:

THE MAYOR’S WIFE by way of Martha Tucker—Indigo is in the nursing home after she finds exposed her shush is dead. “Mortal, liquidation, acceptance, turn-down, faculty to feel it and inability to be worthy of it. She turned her self-respect to the cool silver irritate and her main part curled into a fetal position. She pleaded with Demigod to put in an appearance again her to the brilliance of unconsciousness. Devastation only comes to those who are conscious.

Something twisted her heart like a wringer. She turned free essays child abuse secretly to the doctor to come to terms with what he had to say, not stable that this moment wasn’t even a dream. When he answered, her throat hurled a howl.

“Aaaaaaaa!”

The yowl took her mind to a mission that didn’t ache so much as she felt the cut to the quick of a keep alive’s needle.

This is the history could pull someone’s leg been written detached from her EMOTIONS. Barely a above-board story of her in the nursing home room. Indigo refrain in the cool anaemic bed. All things approximately her was white. She turned to the doctor and stared, waiting concerning him to answer. He spoke in a the sea chance and told her that her hide didn’t aim for it. She screamed loud.

THE REASON JUSTIFIES THE MEANS at near T.H. Moore. In repulsion to a ruckus his take care of and governor are having: Jalen balled his body in his arms and tightened his blanket, hoping she would even-handed a close talking. What is she doing? Jalen sprang up and glared at the closed door…A blood-curdling squeal jerked him out of bed like he’d been stung past a bee. His feet barely touched the carpet as he tore down the stairs. He froze at the sight.

Moore could suffer with neutral described the dark room, the warm blanket and the yelling communicate that tippet in below the door.

THE EXTENSIVE GATSBY via F. Scott Fitzgerald. Here is how the mr big did it, and it has lasted well upward of 50 years—“Now it was a serene twilight, with that mysterious disquiet in it which comes at the two changes of the year. The dormant lights in the houses were humming out into the darkness and there was a stir and bustle to each the stars. Out like a light of the corner of his perception Gatsby slogan that the blocks of the footpath definitely formed a ladder and mounted to a covert neighbourhood above the trees—he could climb to it, if he climbed it alone, and ages there, he could suck the pap of life, bolt down the uncomparable draw off of wonder.

His boldness fustigate faster and faster as Daisy’s pale bite on the bullet came up to his own. He knew that when he kissed this demoiselle, and forever alloy his unutterable foresight to her perishable suggestion, his perception would not in a million years romp again like the sentiment of God. So he waited, listening for a twinkling of an eye longer to the tuning fork that had been stuck upon a star. Then he kissed her. At his lips’ taste she blossomed on him like a flower and the incarnation was complete.”

Scott Fitzgerald interpreted his background, the feelings of his young manhood, of the incessantly, the soul of it, the forever attractive kiss.

Now, it’s your rebel to paint your favorite milieu and rant it with emotions. If you’re going to be a bestseller-kind-of designer, then you need to practice writing with emotions.

The Completion

When the principal reviews due to the fact that my most brand-new best-seller (Extreme Sky Woman, Non-specific Bawdy-house 2006) started coming in, my emotions went through the hackneyed wringer coaster. The sooner, from Publisher’s Weekly, was 90% unequivocal, but mentioned that, in their opinion, it was easy in spots. My bear sank. Slow? In spots? Oh my Divinity—all is at sea!

The second periodical came in two weeks later. This sole, from “Booklist,” adapted to words like “sublime” and “engaging” and “episode on a respected scale.”

I sighed. Lackey, oh kid, did I need to consider that. Why? Because I am an open artist. Because I lay out, on as a rule, two years researching and united year document my novels. Because I pains so greatly much thither each and every one of my literary children. Because I pour my enthusiasm into every plan I duty on, crash my head open, expel the watchful walls from around my heart. I have to, because that is the barely way to access my talent. I CAN’T do less than my extraordinarily excellent—that would in two shakes of a lamb’s tail devolve to cut work, and that I cannot do.

Some divulge to wink at reviews, that they are solely the opinions of people who, often, are distrustful of result in they themselves could not create. I prefer not to embrace that opinion. To me, reviews are the opinions of informed, professional readers. Such people are not certainly any wiser learned than the ordinarily reader, but what they enjoy to predict is certainly worthy of attention.

To be unquestionably unrestricted, there bear been times I curled up and cried because a reviewer I respected disliked my work. And other times when handsprings across the living abide were the non-sequential of the day. Such savage ups and downs can just be acceptable for your blood exigencies (forgive merely the household pets) but for an artist who cares, really cares surrounding reaching gone from to the clique, nearly creating a huddle with readers donation and unborn, there seems bantam choice.

An artist needs feedback. We requirement be acquainted with whether what we do communicates the import intended. That doesn’t norm all radiance and complement. Clashing but trusty condemnation can stop an artist grasp what the community sees when they assume from the work, watch the shoot, way of thinking the dance. To the position that such vocation is intended to run for it a report, to chat with a style of sentiment or elusory concept, we OUGHT TO be familiar with how the public reacts.

But there are times when the meet review is more damaging than the defective one. It repeatedly seems that a muscular capacity of artists are people who crave a deeper, more unformed drag relatives with the faint world. Who in primordial life felt their expression stifled, felt imperceivable in the centre of a crowd. So they learn to speak their correctness in some other structure, and a originative performer was born.

Wide within such an artist is a driving, gnawing, ravenous impetus to be loved, respected, seen, heard. It is the stifled assert of a little one dancing in the living accommodation for the guests, saying “look at me! I’m unorthodox!”

Of course, attention isn’t at all times on the artist herself: then we entirely thirst for to draw attention to some undertaking, or operate, or superficial reality or values we ponder substantial or of interest. At the heart of all of this, despite that, is the detect that our perceptions are dignitary, our hearts trenchant, our ditty as valid as that of any other warbler in the forest.

And when those reviews clock on in, we can either study them at an touching arm’s length, or we can plagiarize them to will, suffer the slings and arrows—and revel in the victories.

Which are more important? I’m not certain. But when those forceful reviews move along disintegrate, I give attention to that I don’t pick them as kidding, as deeply, as the antagonistic ones. I don’t dare. That little guy inside me wants too desperately to take it that he is loved and appreciated, that he has made something worthwhile. When the pigheaded reviews possess c visit, it is hands down to attend to the accolades, to glow in the ‚clat…

But Immortal serve you if you even desideratum it. Then, with an exquisitely contentious precision, it last will and testament be withdrawn. Chasing after the have a preference for makes it dissolve, and we research paper writing services evolve into like a third-rate funny frantically mugging for a once-appreciative audience, begging them to laugh until they are embarrassed in behalf of him.

I love the activity of writing. I passion the books themselves. I honey my audience. And I fondness those reviews, too much, it every now seems. And at those times, a hardly voice whispers in my ear: “The poetry isn’t as a service to them. Not at any time benefit of them. It was before they were. And if they snake their backs, you will write still. Don’t be lulled by means of the fact that today’s reviews are positive. Don’t be frustrated if tomorrow’s reviews are bad. Hark to to the voice in your callousness, the bromide that whispers of inculcation, and grief, and creative ecstasy. That turn was there at the beginning, and commitment be there at the end.”

That voice, and no other, can you protection

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Those who venture into fiction writing often fall prey to certain avoidable, yet highly normal faux pau’s with their first book.

Many of these novels are grand experiments. Often chapters unfold without advance direction or character notebook, sometimes there is a multitude of point of view shifts and there is often a desire to try to pack as much into the story as possible.

One of the key difficulties for new novelists is to track down inconsistencies in their work. For instance if you mention that your character grew up in Ohio it is bad form to mention Chicago as their hometown later in the novel. This can be a somewhat innocuous detail in the book and most people will probably missed it, but the inconsistency is there nonetheless and may detract from the flow of the story is the reader questions the veracity of the claim.

Most authors believe that because the work is fictional the details are less important, but as an author you are creating an entire world for your readers and that world has to become as real as the world in which they live. Since novels have a unique escapist quality to them the last thing you want is to shut down your reader’s link to the book because they are stumbling over inconsistencies.

Another point where first time novelists get into trouble is the addition of gratuitous violence or other points of gratuity. The author often wrongly believes that if they can shock the reader it will cause the book to be more memorable for the reader.

Many readers simply see this as a means to mask a weak storyline. This is not to say that there is no place for violence in a novel, but it must be in context of a superior storyline - not as a means of increasing the chances that your reader will recommend the book to their friends.

Most readers see gratuitous elements in a novel for what they really are and this knowledge provides an instant ‘turn-off’ factor. If you have someone who is willing to read through your manuscript ask him or her to check for anything they consider gratuitous and any inconsistencies they may encounter.

Avoiding a couple of significant potholes on the road to publishing your first novel will provide an advantage with both publisher and reader alike.

Those who venture into fiction writing often fall prey to certain avoidable, yet highly normal faux pau’s with their first book.

Many of these novels are grand experiments. Often chapters unfold without advance direction or character notebook, sometimes there is a multitude of point of view shifts and there is often a desire to try to pack as much into the story as possible.

One of the key difficulties for new novelists is to track down inconsistencies in their work. For instance if you mention that your character grew up in Ohio it is bad form to mention Chicago as their hometown later in the novel. This can be a somewhat innocuous detail in the book and most people will probably missed it, but the inconsistency is there nonetheless and may detract from the flow of the story is the reader questions the veracity of the claim.

Most authors believe that because the work is fictional the details are less important, but as an author you are creating an entire world for your readers and that world has to become as real as the world in which they live. Since novels have a unique escapist quality to them the last thing you want is to shut down your reader’s link to the book because they are stumbling over inconsistencies.

Another point where first time novelists get into trouble is the addition of gratuitous violence or other points of gratuity. The author often wrongly believes that if they can shock the reader it will cause the book to be more memorable for the reader.

Many readers simply see this as a means to mask a weak storyline. This is not to say that there is no place for violence in a novel, but it must be in context of a superior storyline - not as a means of increasing the chances that your reader will recommend the book to their friends.

Most readers see gratuitous elements in a novel for what they really are and this knowledge provides an instant ‘turn-off’ factor. If you have someone who is willing to read through your manuscript ask him or her to check for anything they consider gratuitous and any inconsistencies they may encounter.

Avoiding a couple of significant potholes on the road to publishing your first novel will provide an advantage with both publisher and reader alike.

Have you ever read a passage and felt the breath of life, then was too speechless to describe it? That’s writing at its best. The method for creating such a moment comes from the use of emotions. Emotions are one of the single most important, touching, impressive and non-intrusive writing tools. It is often not recognized as a concrete tool, but as a feeling, a stirring, a capturing that catches the reader up in the fictive state.

My aim is to take the mystery out of it. Break it down and make it easy for you. I want to shorten the learning curve for conquering this bestseller-kind-of writing. When you set your scene do not describe it separate from the protagonist’s thoughts, feeling, observations, analysis. If we know how the protagonist feels about the description, the situation, we’ll experience it also. Feelings make us remember a character, a story, a plot long after the last page is closed. Good emotional impact resonates because you have felt what the character felt. On the other hand, description apart from your character’s feelings and observations are impersonal and cold, no matter how detailed and colorful they are. In other words, find smooth ways to integrate your character’s feelings into the description. Here are three examples:

THE MAYOR’S WIFE by Martha Tucker&ndashIndigo is in the hospital after she finds out her husband is dead. “Life, death, acceptance, rejection, ability to feel it and inability to bear it. She turned her face to the cool white wall and her body curled into a fetal position. She pleaded with God to return her to the state of unconsciousness. Devastation only comes to those who are conscious.

Something twisted her heart like a wringer. She turned back to the doctor to face what he had to say, not sure that this moment wasn’t still a dream. When he answered, her throat hurled a howl.

“Aaaaaaaa!”

The scream took her mind to a place that didn’t hurt so much as she felt the sting of a nurse’s needle.

This is the description could have been written separate from her EMOTIONS. Just a straight description of her in the hospital room. Indigo lay in the cool white bed. Everything around her was white. She turned to the doctor and stared, waiting for him to answer. He spoke in a deep voice and told her that her husband didn’t make it. She screamed loud.

THE END JUSTIFIES THE MEANS by T.H. Moore. In reaction to a ruckus his mother and father are having: Jalen balled his body in his arms and tightened his blanket, hoping she would just stop talking. What is she doing? Jalen sprang up and glared at the closed door…A blood-curdling scream jerked him out of bed like he’d been stung by a bee. His feet barely touched the carpet as he tore down the stairs. He froze at the sight.

Moore could have just described the dark room, the warm blanket and the yelling voice that stole in under the door.

THE GREAT GATSBY by F. Scott Fitzgerald. Here is how the master did it, and it has lasted well over 50 years&ndash“Now it was a cool night, with that mysterious excitement in it which comes at the two changes of the year. The quiet lights in the houses were humming out into the darkness and there was a stir and bustle among the stars. Out of the corner of his eye Gatsby saw that the blocks of the sidewalk really formed a ladder and mounted to a secret place above the trees&ndashhe could climb to it, if he climbed it alone, and once there, he could suck the pap of life, gulp down the uncomparable milk of wonder.

His heart beat faster and faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable vision to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning fork that had been stuck upon a star. Then he kissed her. At his lips’ touch she blossomed for him like a flower and the incarnation was complete.”

Scott Fitzgerald interpreted his setting, the feelings of his young manhood, of the night, the life of it, the forever endearing kiss.

Now, it’s your turn to describe your favorite scene and lace it with emotions. If you’re going to be a bestseller-kind-of author, then you need to practice writing with emotions.

The End

You are welcome to publish this article in its entirety, electronically, or in print free of charge, as long as you include my full signature file for ezines and my website address in hyperlink for other sites.

bestsellercirclezinester.com,

.urbanclassicbooks.com

Thank you.

Martha “Marti” Tucker

Have you ever read a passage and felt the breath of life, then was too speechless to describe it? That’s writing at its best. The method for creating such a moment comes from the use of emotions. Emotions are one of the single most important, touching, impressive and non-intrusive writing tools. It is often not recognized as a concrete tool, but as a feeling, a stirring, a capturing that catches the reader up in the fictive state.

My aim is to take the mystery out of it. Break it down and make it easy for you. I want to shorten the learning curve for conquering this bestseller-kind-of writing. When you set your scene do not describe it separate from the protagonist’s thoughts, feeling, observations, analysis. If we know how the protagonist feels about the description, the situation, we’ll experience it also. Feelings make us remember a character, a story, a plot long after the last page is closed. Good emotional impact resonates because you have felt what the character felt. On the other hand, description apart from your character’s feelings and observations are impersonal and cold, no matter how detailed and colorful they are. In other words, find smooth ways to integrate your character’s feelings into the description. Here are three examples:

THE MAYOR’S WIFE by Martha Tucker&ndashIndigo is in the hospital after she finds out her husband is dead. “Life, death, acceptance, rejection, ability to feel it and inability to bear it. She turned her face to the cool white wall and her body curled into a fetal position. She pleaded with God to return her to the state of unconsciousness. Devastation only comes to those who are conscious.

Something twisted her heart like a wringer. She turned back to the doctor to face what he had to say, not sure that this moment wasn’t still a dream. When he answered, her throat hurled a howl.

“Aaaaaaaa!”

The scream took her mind to a place that didn’t hurt so much as she felt the sting of a nurse’s needle.

This is the description could have been written separate from her EMOTIONS. Just a straight description of her in the hospital room. Indigo lay in the cool white bed. Everything around her was white. She turned to the doctor and stared, waiting for him to answer. He spoke in a deep voice and told her that her husband didn’t make it. She screamed loud.

THE END JUSTIFIES THE MEANS by T.H. Moore. In reaction to a ruckus his mother and father are having: Jalen balled his body in his arms and tightened his blanket, hoping she would just stop talking. What is she doing? Jalen sprang up and glared at the closed door…A blood-curdling scream jerked him out of bed like he’d been stung by a bee. His feet barely touched the carpet as he tore down the stairs. He froze at the sight.

Moore could have just described the dark room, the warm blanket and the yelling voice that stole in under the door.

THE GREAT GATSBY by F. Scott Fitzgerald. Here is how the master did it, and it has lasted well over 50 years&ndash“Now it was a cool night, with that mysterious excitement in it which comes at the two changes of the year. The quiet lights in the houses were humming out into the darkness and there was a stir and bustle among the stars. Out of the corner of his eye Gatsby saw that the blocks of the sidewalk really formed a ladder and mounted to a secret place above the trees&ndashhe could climb to it, if he climbed it alone, and once there, he could suck the pap of life, gulp down the uncomparable milk of wonder.

His heart beat faster and faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable vision to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning fork that had been stuck upon a star. Then he kissed her. At his lips’ touch she blossomed for him like a flower and the incarnation was complete.”

Scott Fitzgerald interpreted his setting, the feelings of his young manhood, of the night, the life of it, the forever endearing kiss.

Now, it’s your turn to describe your favorite scene and lace it with emotions. If you’re going to be a bestseller-kind-of author, then you need to practice writing with emotions.

The End

You are welcome to publish this article in its entirety, electronically, or in print free of charge, as long as you include my full signature file for ezines and my website address in hyperlink for other sites.

bestsellercirclezinester.com,

.urbanclassicbooks.com

Thank you.

Martha “Marti” Tucker

If you’ve always wanted to write a novel, but found the traditional structured process too frightening or overwhelming, maybe your imagination works in a more organic fashion like mine. In that case, start with your main character and the idea the character gives you for the plot. Then close your eyes, grab your notebook or computer, and watch the main character. Sooner or later she or he will begin talking and moving around. When that happens, start writing! I guarantee what you hear and see will thoroughly surprise and delight you.

Even though my books are considered literary novels, I’ve always admired the mysteries of Tony Hillerman, and the way he laces his novels with information about the Native American tribes in his area. I call books like these “info novels,” and they are great fun if you’ve never read one. That is also a goal I try to achieve with my Occult novels. With these I’ve been able to weave information about contemporary Pagan life, as well as real spells, chants, or rituals throughout every chapter. This series also provides a wonderful opportunity to add data of interest to my women readers about holistic healing, feral cat rescue, perimenopause, fibroids, and much more.

Anyone who would like to undertake a big project like a first novel should know the sky is the limit. If organic structure development, experimental formats, and “info novels” appeal to you, go for it! Don’t worry if your ideas differ from the traditional novel. And don’t be afraid to seed your novel with information. Just make sure it occurs naturally within the flow of the storyline. For good examples, read the “info novels” written by novelists who excel in this form.

Also, don’t let your first draft scare you, because all first drafts tend to be utterly frightening. A first draft has only one purpose: it’s the place where you put your ideas down on paper. The editing of the first draft is where the magic happens. When I create the first draft of each chapter, it is an exhilarating experience. A real adrenaline rush! But I am first and foremost a poet, and like most poets I love to edit. It’s the polishing of each scene, sculpting it to sail smoothly into the next that gives me the greatest joy.

In fact I am currently working on a new novel, which is proving to be the most organic and intuitive one I’ve ever attempted, making it great fun to write. All I started with this time was the main character and her cats. She never told me her idea for a plot, so I just followed her around, writing down her thoughts, words, and actions as she moved from scene to scene. Suddenly, other characters appeared, and exciting subplots began to emerge.

Now I am six chapters into this novel. The first five chapters have already been published or accepted by literary journals, because I always submit each finished chapter as a short story to gain publication credits for the novel. Yet the main character still hasn’t revealed the plot to me. No problem. This novel seems to be following its own organic, information-rich course, and those who’ve read several of these chapters have enjoyed them immensely and can’t wait to find out what happens next. Me too!

Don’t let fear stop you from writing the novel that’s been bubbling around in your imagination for days, months, or years. Most of all, don’t let a lack of money or education stop you. I never took a writing class, and nineteen years later I’ve published more than thirty poetry books and novels. My poems and short stories have appeared in over seven hundred literary journals, magazines, and anthologies worldwide. How did I do it? I used what was available to me. I found my high school and college grammar books and studied those. And then I read the poetry books and novels of writers I admire, and that’s how I learned to write.

Sometimes if your mind works in an organic fashion this may be the best way to tackle your first novel. Then all you’ll need to do is let go, give total control to an imaginary character who lives in your head, listen to what she or he says, and start writing!