When Do You Become An Author?

The debate about whether a person is an author or a writer seems to come up frequently. There are those who insist that there is a distinctive difference between the two, something that I have discussed before on my personal blog.

For those who can't be bothered to delve into the depths of my personal blog, according to the Merriam-Webster Collegiate Dictionary, a writer is one that writes (I still want to change that to one who writes, but we move on). Whereas, an author is one that originates or creates or is the writer of a literary work (as a book).

Based on these definitions, I'm stand strong by my belief that a writer is a person who writes. I despise the term aspiring writer, because there is no aspiring about it. You either write or you don't. It's that simple.

However, the transition to the author title is not as clear cut.

Exactly when does a writer become an author?

Past Present vs Past Simple: It’s all in the past, right?

I don't think anyone would be surprised to learn that I take part in a decent number of online forums for writers and editors. It's about connecting with other writers and editors, building my network. And I will admit that many of my interactions on social media feed the ideas for the posts on this blog.

Today's blog post is no different.

In a recent post in one of my forums, I came across a writer who had said that they had been taught that when using past perfect tense, it was best to transition to past simple quickly afterward.

I don't know about anyone else, but even now, I look at that and my head hurts. You don't want to know the thoughts that go through my mind with such statements. (I actually made a note in one of my manuscripts to maim and torture the grammar police.) But this is not the first time that I've encountered a writer who insisted on using such terminology. (Why they would even bother… Well, there's a reason I made a note to maim and torture the grammar police.)

Yes, these literary terms have specific meanings, and many English teachers will insist that you get them right. So, let's get to it and define what the different versions of past tense verbs are.

Here's hoping that we don't totally get confused along the way.

It might be current, but should we include it?

It's not surprising that I've encountered a decent number of conversations regarding COVID-19 mixed with writing in some fashion. Most have been regarding productivity (and I'm sick of those conversations). A few have been related to whether self-published authors should continue with their publication plans. Others have been related to those seeking traditional roads and querying agents. But a few of them relate to writing contemporary stories and whether we should include COVID-19 into them.

To be blunt, I wouldn't—and here's why put as simply as I can.

Because we're already bored with it.

The Story Grid by Shawn Coyne: The idea is good, but the book is confusing.

A few months back, I was part of a discussion on Facebook about books that are specific to developmental editing. Being a developmental editor, I watched the thread like a hawk. I wanted to know what books are out there and what was high on the recommended lists. Many of the books discussed I already had, but there was one that came highly recommended by several on the thread.

The book in question: The Story Grid by Shawn Coyne.

So, I ordered a copy of the book myself. It took approximately 6 weeks to arrive (shipping to New Zealand is always a long, drawn out wait), and when it got here, I sat down and started reading. And instantly regretted buying the paper version of the book.

Don't get me wrong: the technique presented in the book is gold. The book itself…

The editor NEEDED an editor. It takes forever to get to the crux of the methodology, and when you finally get to the end, there is no discussion on what to do with the full Story Grid, or how to even generate those pretty graphs that Coyne often talks about. At one point, the book became a political statement against Trump, which actually left a sour taste in my mouth. I'm sorry, folks, but a book about editing books is NOT the place to discuss your political views, whatever they are.

Political discussions aside, what really got to me was the word count taken to discuss certain concepts. Waffle! He spent forever circling the drain.

Let's just say that I WILL NOT be adding this book to my list of recommended books for writers. BUT… As a developmental editor myself, I could see the beauty in the method he presented. He tracks the upbeats and the downbeats, and marks the points of transitions within his detailed spreadsheets—spreadsheets that take days if not weeks to compile. Pretty graphs seem to magically come out of it (the magic of which was not explained, unless that was something that I missed entirely, which wouldn't surprise me). But the idea of understanding the rise and fall of tension is something that is incredibly important. It's for this reason alone that I think many writers keep pointing other writers to this book.

However, much of the details in the book could be compressed into a more concise format and rewritten so it's understandable by all writers.

So, that's what I'm going to do. It's a tall ask for a single post, and I'll likely fail, but if I don't try, then the knowledge that I've gleaned from this book will likely be lost in the filing cabinet that is my brain.

To US English or to UK English? Is that really the question?

Frequently, I find myself in the middle of a conversation talking about whether something should be written in US English or UK English. Sometimes, it's related to how something is punctuated (and yes, there is a difference between the two for some punctuation rules). Sometimes, it's in regards to whether a story would work better written in one versus the other—normally focused on whether a story set in the UK should be in UK English. And sometimes, it's connected to the frustrations that those around me have with Americans who don't understand that UK English is different to US English.

Within these conversations, I find myself becoming a bit of a broken record, asking the same questions over and over again. And it all comes down to one idea…

Who is your target audience?

So, let's break this down and really look at why understanding who your target audience is will determine which variant of English you use.

Writing is a Business

There comes a point in every writer's career when they need to start making decisions about what their writing means to them. They need to examine their goals and strategize on how to get there.

For many writers, there is a shift in mindset, where writing moves from being a hobby to being a business.

Before I go much further, I do need to stress that there is nothing wrong with writing as a hobby. I know of a few hobby writers, and they are extremely knowledgeable about the craft. However, if you are looking at publication with the intent to sell your books (and I do mean books plural), then you have migrated past being a hobbyist and into the realm of running a writing business. Exactly how that business looks will depend entirely on your goals and ambitions.

This decision about making writing into a business can come very early within a writer's career, and it should. It doesn't mean that it has to suck all the fun out of writing your stories, but it will help you focus your activities, hopefully becoming more productive and working towards your goals.

So, let's take a look at what writing as a business really means.

It’s a typo! They happen.

If there is one constant within the world of publishing, it would be that typos happen. It doesn't matter how many times you go through a piece of written work, there will always be something that's missed. You could have six different sets of eyes on it, and things still slip through. And the longer that piece of writing is, the more likely that errors get missed.

To complicate matters, you might have the cleanest copy on the planet, but errors creep in during typesetting too. At every stage of the writing/editing/publishing process, there is an opportunity for an error to be introduced—and for that error to get missed.

It happens.

I'll be the first to grant you that when a piece of writing is riddled with typos and grammatical errors, it's frustrating to read. However, I have said it time and time again: if a story is gripping, most readers will be willing to overlook the odd typo or grammatical error.

As writers, we need to accept that typos WILL happen.

As editors, we need to accept that we're NOT perfect.

However, there are some people out there who are Grammar Nazis from hell and will publicly shame you for making innocent typographical errors. It's because of these jerks (and that's what they are) that many writers and editors despise the idea of blogging. They're afraid that their writing might be torn to shreds because of those innocent mistakes. But what the Grammar Nazis forget is that mistakes happen.

The production schedules for a blog are tight. Certain steps within the editing process are sometimes missed. The thorough care that we give our novel writing is not given to this short piece that is going to go up on the web within hours. Newspaper articles are much the same in that respect. Mistakes creep in, it's the nature of the beast. But when the public shaming starts…

***Breathe… Just breathe…***

I think it's time to put reality back into the blogging world and remind a few editors that we're only human.

The “Must Have” References for Every Writer, Regardless of Genre

There are many resources out there for writers, each looking at a different aspect of writing. Some will go into the nitty-gritty about how to structure a story or build a character. Others will go into narrative voice and points of view. And of course, you have the countless number of resources about punctuation and grammar.

Then you have all the genre specific materials that you might pick up along the way. For me, these include books about weaponry, criminal investigations, herbology, and, probably the most odd edition on my shelf, improvised munitions (complete with actual, functional recipes—thank you, U.S. Army).

If you're anything like me, most of the writing resources you have sitting on your shelf are books that you refer to occasionally. They're useful to have, but they aren't something that are an instant GO-TO for most things you write. Perhaps you've read them through cover to cover once, but they tend to sit on the shelf collecting dust.

But, there will be those books that you just can't do without. You love them so much that you seem to have accumulated multiple copies of them along the way. They are books that are so well loved that your paper copies (if you have paper copies of them) have little tabs added everywhere, marking important pages that you keep going back to. Or the electronic copies are annotated to the point of exhaustion.

And if someone asks to borrow that book... NO WAY! Get your own.

The following list of books is like that for me. These books are volumes that live within arms reach of my desk. For a few of them, I have both paper and digital formats, that way I can always have them with me when I'm writing. Regardless of the fiction genre you write, these books are beyond valuable.

Is it literary, commercial, or upmarket? Publishing industry terms explained.

The publishing industry is filled with terms that seem to mean one thing to the industry but something entirely different to everyone else. For the writer who is just entering into the publishing scene, this barrage of new terminology can leave us confused, staring at the word forever trying to discern its meaning.

Three of those words for me were literary, commercial, and upmarket. There really isn't a simple definition for these three terms as they apply to the nature of the narrative used within a story. Here's hoping that today's post can clarify it for at least some writers.

There is NO such thing as an aspiring writer.

There is a term that I seen bandied around a lot. I see it in bios for various writers. I see it in promotional materials for writing workshops and courses. I even see it in emails from agents, publishers and editors. And every time that I see it, or hear it, I want to growl. The term that irks me to no end: aspiring writer.

I know it might be silly to have such a negative reaction to what might seem like an innocent term, but how does one actually go about the action of aspiring to be a writer? You can aspire to see your writing in print (or in eBook format if that strikes your fancy). You can aspire to quit your day job to become a full-time writer. You can even aspire to get more hours in the day to dedicate to your writing. But aspire to be a writer?