The Practice of Creativity

Posts Tagged ‘readers

Two conversations, in the past few months, has me thinking a lot about readers and the lengths they will go to for the authors they love. And, as writers, how do we put our attention even more squarely on creating an amazing reader experience.

This author has created very loyal and responsive fans

One of my colleagues recently shared a story with me about how completely determined she was to obtain the latest release of a Louise Penny novel. At the time, she was traveling in Michigan and the bookstore that she usually visits while there had already run out of LP’s novel. She was scheduled to take a plane home later that day. She was so determined to get this novel that she called several bookstores in the area and then wound up driving over 45 minutes to a bookstore that still had the novel in stock. * She almost missed her plane in search of this book. That’s devotion.

One of my dearest friends and I were recently discussing what we were reading. Since I knew that my friend was also a fan of LP, I mentioned that my colleague was looking forward to diving into the latest LP novel. My friend paused and said with intensity, “Louise Penny is the only author that I make sure I do a pre-order for, so that the day of her release, the book arrives at my door. And, then I drop everything for a few hours to read it.”

I was struck by both conversations. Also, on a recent episode of the fantastic ‘The Writer’s Well’ podcast with Rachael Herron and J. Thorn, Rachael mentioned that a writer she knew had fans who would call in sick on the day of a new release. That’s commitment!

Having fans that make it a priority to read your work is every writer’s dream. It made me think about the question posed in the blog post title: What Lengths Are Readers Willing to Go to Read Your Work?

The deeper question is: How do we craft stories that readers can’t put down? Stories that keep them coming back for more.

This, as you already know, is a million-dollar question and there is no magic answer. I do think a piece of the answer is consistently thinking about one’s ideal reader. Over the years, I made an important realization—I am ultimately writing for reader experience and engagement, not just my own personal pleasure. Twenty years ago, I really didn’t think much about reader satisfaction or engagement—it was all about MY MESSAGE. Or, it was all about HOW CLEVERLY I USED LANGUAGE. This sounds so dumb and pretentious as I write it here, but it is the truth. Now, for me, managing and heightening reader experience is where the gold is and is always in the forefront of my mind. The first draft of anything is still just for me, my flights of fancy and risk-taking. Each subsequent draft though, I try to hone the kinds of emotions I want the reader to feel in each scene and across the whole manuscript. I also pay much more attention to where I might lose the reader in a story.

While teaching at the Table Rock Writers Workshop a few weeks ago, I had the distinct pleasure of hearing a fantastic book talk by Emily Nunn, author of The Comfort Food Diaries: My Quest for the Perfect Dish to Mend a Broken Heart and former writer and inventor of the “Table for Two” column in The New Yorker.

She shared the grueling writing process she went through her after book proposal for a memoir (based on her experiences being in a psychiatric facility) was sold with relative ease. Her book is about the circumstances that got her into the facility and after leaving, how she healed by traveling to see friends and cooking together. She shared with us that she really wanted to include a chapter about her time in the psychiatric facility and someone on her team (I can’t remember if it was her agent or editor), said no and told her to take the chapter out. She was very upset with this advice. She had labored over that chapter and to her it represented the heart of the book. They, however, felt that the tone of the chapter was completely out of sync with the rest of the overall upbeat feel and transformational tone of the book. This same person said something along the lines of, “You don’t want to eject the reader from the book.” And, that chapter, in their opinion, though well-written would have created such incongruities for the reader, there was a potential of ejecting them out of the book. Thinking about what ejects the reader out of our work struck me as a useful bit of advice. We never want to eject the reader from our work! Ejecting the reader can look many different ways, right?

For example: Sloppy dialogue, a wandering plot, undeveloped characters, shoehorning one of our darlings into a book that just doesn’t fit (Nunn made it clear that the chapter she was being asked to cut was one of her favorites and she considered it important). Nunn added though that in retrospect, the advice was solid—the chapter didn’t fit in the current version of the book and could work instead as an excellent essay. Her team was thinking about the reader’s experience.

Many writers don’t read their reviews for a variety of reasons. I have found it helpful to look at the reviews of my work and pay attention to emails I receive or in person responses. What they like (or don’t like) are hints to their reader experience.

Sometimes when soliciting feedback on a draft, I will ask someone to mark in the text, exactly where they were able to out the book down. I go to that spot(s) and ask hard questions about what is either not working, or what is working but in a very uninteresting way.

No one starts out writing something that they know readers will devour; if you’re lucky you grow into a gifted storyteller over time. The writers who consistently create work that makes people stay up late, almost miss planes, and tell others about it have cracked something valuable about reader experience. The answers are out there in others’ work and our own, if we are brave enough to dig for them.

How do you understand the role of the reader’s experience? Are there questions you ask yourself when rewriting that focus on reader experience? I’d love to know!

*You may be wondering why she didn’t order it on Amazon—she doesn’t use Amazon and prefers to support independent bookstores.

Photo Credit-Louise Penny

Photo Credit-Emily Nunn

I did it. I couldn’t resist. I gave myself the gift of a MasterClass with the amazing Margaret Atwood! MasterClass brings online learning to you from experts in everything from cooking (e.g. Alice Waters) to tennis (e.g. Serena Williams). They have a number of writers to choose from including R.L. Stine, James Patterson, Malcom Gladwell and Margaret Atwood.

Margaret Atwood’s a writer I absolutely adore! Truth be told, she’s the kind of writer that if I met a trickster spirit and they offered me a deal like, “You can write like Margaret Atwood, but you’d have to give up a limb.” I’d seriously consider it. Well, yes, I know…never trust a trickster spirit! I imagine though you, too, have writers whose work you adore and strive to emulate.

I thought how can I pass up an opportunity to study with her? I decided I couldn’t. I plunked down about $200 for an “all access pass” (which allows you to have year-long access to the videos and lifetime access to all the materials + access to other classes). She has 20+ pre-recorded videos that explore a variety of topics including writing through roadblocks, structuring a novel, revealing the world using sensory imagery, revision, etc.  Also included is a workbook crammed with exercises, additional thoughts, reading lists, etc. The first few videos I watched I could barely concentrate because I was TREMBLING while viewing Margaret Atwood right there in front of me talking about our shared passion—writing! I broke out in glee blisters (OK, so there’s probably no such a thing as a glee blister, but you do understand my level of enthusiasm).

The videos are infused with her wit, humor and wisdom. I think the MasterClass presents a unique opportunity to study with world class teachers. [BTW, I’m not getting paid to say this!]

I learned tons—so much so I am still digesting it all. These three tips below have stayed with me and they might be useful to you, too.

1) “Story is what happens. Structure is how you tell it.” Master simple chronological storytelling before tackling complex narrative variations. In one of the lessons, Margaret Atwood riffs on the different ways one could structure the story of Little Red Riding Hood.

The story would be the same but you could tell it a variety of ways using a different structure:

–beginning to end; starting in the middle (e.g. “It was dark inside the wolf. The grandmother who had been gobbled whole couldn’t say a word, because it was quite stifling and full of old chicken parts and plastic bags that the wolf had eaten by mistake”); using time jumps (“Little was Little Red Riding Hood to know that in two weeks’ time she would be looking back at one of the most definitive events of her life.”); start with a flashback; tell it from a different perspective, etc.

I can see that while writing my first novel, my ambition exceeded my skill level. I didn’t know how to tell a multiple viewpoint story, some of which took place in the past and also involved a number of time jumps. I just wasn’t a skilled enough writer back then to pull that off. I finally did find a path forward by excerpting material in what became my novella, Reenu-You. It is still complex for a novella in that it has two first person narrators and uses journalistic devices (i.e. emails, commercials, etc.) to tell a layered story.

Can you apply Atwood’s insight to a piece that you are working on that feels too complex and isn’t working? Can you find a way to simplify the narrative structure so you can tell the story that you want?

2) Writers have to think about narrative order. Margaret Atwood says that writers have to figure out who knows what and when in a story. And, you have to consider what effect your decisions, about the order of what is revealed, will have on the reader.

“One question you can ask yourself, if you’re writing: Does the reader know more than the character, or does the character know more than the reader? Or do they both know the same amount? Because it’s going to be one of those three.”

-When the reader knows more than the character that can create suspense.
-When the character knows more than the reader that can create narrative irony.

Atwood said it took her three attempts to figure out who would tell the story in The Blind Assassin!

I’m the process of revising a mystery, so this insight has been highly relevant to figuring out when to reveal what detail to the reader.

What about you? Is there a story where you can play with the narrative order to create more tension and suspense in the story?

3)“Print out your work, read it aloud and while reading, use a ruler. Read slowly.”

This is how Margaret Atwood revises her work.

Now, I absolutely am a proponent of reading one’s work aloud, but I had never tried doing it slowly and with a ruler. Sounds simple, right? I had a story that I was prepping to send to a magazine and I decided to try her method —I used a bookmark as I didn’t have a ruler. Wow, was this a revelatory experience! I noticed everything, the rhythm of words, word choice, when sentences were too long or short. I loved this process and will use it for final revisions moving forward; it gave me such a bigger and richer perspective on editing.

Do you have a piece that you’re about to submit and think it’s ready to go? Try Margaret’s technique and see what you discover.

Social Media for Writers: 7 Strategies

Saturday, March 23, 10am-3pm, Central Carolina Community College

Hi folks,

It’s March and I have a great workshop, Social Media for Writers: 7 Strategies, coming up in just a few weeks! I’d love for you to attend. At any given time, you can find writers talking, arguing and lamenting about the expectations of social media usage for writers. There’s often not a lot of joy in these conversations. The debates over how to use social media (and what for), also reveal ambivalence about other necessary skills writers most often need to develop–promotion and marketing.

Whether you aspire to be an indie writer, traditionally published or hybrid author, creating an online presence is part of a savvy writer’s toolkit.

Creating an online presence and managing social media helps writers build relationships with other authors, fans and industry professionals. It also can generate leads, provide exposure and advance your professional goals and aspirations.

With the millions of choices out there, potential readers need to know how to find your work, understand your unique perspective and connect with you.

Social Media for Writers is geared for writers interested in creating or beefing up an online presence. It is also geared for those writers who want to know more about how to use social media effectively in getting them closer to their writing goals.

We’ll spend time exploring the challenges and opportunities of various platforms (e.g. Twitter, Instagram, etc.) and learn novel ways that writers have used these platforms to promote their work and engage industry professionals, readers and fans.

We’ll also talk about author websites (what should be on them?), blogging (is it still worth doing?), author newsletters (when should you start one?), and importantly–how not to get overwhelmed in managing your social media.

And, I promise you it will be FUN and of course, there will be door prizes, too! More below…

Social Media for Writers: 7 Strategies

Does the term author platform make you cringe? Are you overwhelmed by conflicting advice about how often and in what ways aspiring (and professional) writers should be engaging in social media? Do you think that talking about an author brand minimizes one’s creativity? Does talk of authors using Twitter, Pinterest and Instagram make you want to stay in bed and pull up the covers?

Find out ways to effectively harness social media to meet your goals and have fun while doing it.

This workshop will help you make informed choices about how you represent yourself online.

Writers of every level, genre, and background welcome.

Register here

 

Affirmations-366Days#338: I love the challenge of crafting powerful prose that emotionally moves readers.

For new readers, here’s why I’m committing to writing affirmations, about the creative process, during the next 366 days.

Affirmations-366Days#292: I create an author website that reflects my interests and creative commitments. Readers find my work with ease.

For new readers, here’s why I’m committing to writing affirmations, about the creative process, during the next 366 days.

Affirmations-366Days#137: I nurture my community of readers that enjoy my work. I communicate with them in ways that express my authenticity & passion for writing.

For new readers, here’s why I’m committing to writing affirmations, about the creative process, during the next 366 days.

Affirmations-366Days#88: I revise with ease. Thoughtful revision is the quickest way to get closer to my reader.

For new readers, here’s why I’m committing to writing affirmations, about the creative process, during the next 366 days.


Michele Tracy Berger

Michele Tracy Berger

Author, Academic, Creativity Expert I'm an award winning writer.

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