“I thought you’d fix it for me. Isn’t that the editor’s job?” “I just don’t understand Microsoft Word. There’s no way I’ll switch from WordPerfect.” “I’m a beginning writer so I was counting on you (the editor) to mentor me.” Each of these is a real comment made by a real writer whose manuscript was rejected by a real publication. And yes, rejection’s a common denominator in the writing world. Sooner or later—for most, sooner—every writer experiences it. And if you write for publication, you get used to hearing advice like “Toughen up” or “Develop rhino skin.” Along with those words of wisdom, though, I’d like to offer another piece of advice: Follow directions. Sounds simple, doesn’t it? That’s what I thought, until (early in my professional writing career) an editor complimented me because I adhered to the magazine’s guidelines. “Is that unusual?” I wondered. In a word—yes. Since that time, I’ve done editing work for more than one publication, so I understand the compliment my editor friend paid me. And I also realize many writers could increase their chances of publication if they heeded my simple advice. If you’re a Writer WannaBe, please follow directions. Read and follow the guidelines the compilation, journal, magazine, website, etc. provides. Some post these on their websites (watch for a “Write for Us” or “For Writers” section) and others will share them upon request. If you can’t find guidelines, write and ask. Better yet, purchase Sally Stuart’s Christian Writers’ Market Guide or subscribe to www.writersmarket.com, the comprehensive Writer’s Digest website for those who seek publication. Why does following directions matter? First of all, it demonstrates respect for the publication and its editor. You don’t show up at a job interview in rumpled clothes and a bed head. In the same way, you want to present your manuscript at its best. Its appearance should enhance rather than detract from the great writing within. Make your writing easy and attractive so your editor reads far enough to love it. Second, following directions shows the editor you regard yourself as a professional. Notice I didn’t say you felt as though you were a professional or that you spent all your time writing. But if you intend to write for publication, you must think and act as a professional. Adhering to the guidelines/following directions gives you a great start. Following directions also prepares you for future opportunities. Because I was used to following writers’ guidelines when I wrote for magazines, I had little trouble following publishers’ guidelines when I moved into the world of nonfiction books. Not a detail person? No matter. If you’re serious about becoming a published writer, you’ll find a way to focus....

Little decisions can make a big difference. In 2007, as I pressed through the challenges of ghostwriting a memoir, I whined to an editor friend that I needed a “Ghostwriters’ Support Group.” “You should get in touch with Cec Murphey,” she responded. After she provided his contact information, I made a small decision and reached out to the man whose name is synonymous with ghostwriting. I sent an email and received a polite, personal response. I also subscribed to his newsletter so I could learn more about the man and his message. Cec Murphey, as he once told me, is “used to being ignored.” God—and Cec’s tremendous talent—is changing that with the success of projects that include the best-selling 90 Minutes in Heaven, written for Don Piper, and Gifted Hands, written for Ben Carson. This week, I read and enjoyed Words of Comfort for Times of Loss by Cec Murphey and Liz Allison. And Cec takes particular pride in his most recent release, When a Man You Love Was Abused.Today, Cec Murphey writes many books that bear his name as author, but as a ghost- and collaborative writer, he does what I do. To be more accurate, I do what Cec does—on a smaller, less-experienced scale. My little decision led to a bigger one when in 2008, I had the opportunity to attend a One-Day Intensive Writers Workshop in Cec’s Atlanta-area home. Because of the rapid way God moved me from writing magazine articles to books, I hadn’t spent much time around other writers. Until that weekend, I’d never attended a writers’ conference or workshop. I went—and fell in love. I fell in love first with the writing community. I’d never known others who cared as much about words and the way they are put together as I did. Here—at last—I found people who spoke my language. As Cec shared his wisdom with the five of us, I realized: I know what he means. I understand why he’s saying this. It all makes sense. That weekend, I began a connection with other writers that’s an integral part of my present-day life and ministry. I also fell in love with the man I’m blessed today to honor today. I watched the gentle, direct way he interacted with our small group. I heard his passion for God as he spoke of his dual commitment to keep learning about the craft of writing and to do as much as he could to help other writers. And I felt a strong sense of empowerment as—after multiple revisions—he praised not only my writing but my willingness to improve. I attended the workshop to learn more about the craft of writing. I came away with...

This mini-series addresses common errors writers make. I should have added in my previous FME post that all these represent errors I have made—and may still make at times. But the reason I share them is because when I edit others’ work, I often see similar problems from different writers. That’s why I call them FMEs or “Frequently Made Errors.” TOO MUCH BACKSTORY can occur in either fiction or nonfiction. All my published work is nonfiction (unless you count some poetry from years ago), so I would call nonfiction my area of expertise. But I do know that in fiction, backstory means the story before the story. Novice fiction writers face the temptation to give too much background information too soon. Almost any fiction instructor urges wannabe novelists to tell the story they intend to tell and allow the characters’ past to unfold alongside it. This same backstory problem can occur with nonfiction as well. The author of a recent manuscript I critiqued began his book by telling why he was qualified to write it. He explained to his readers what they could expect and what he hoped they would learn. He told about the ways his journey had blessed him and how he hoped it would, in turn, bless them. Do you see the problem? If you managed to read all the last paragraph, you did better than most people would have done with his manuscript. The advice I gave this aspiring author used the same words I referenced for wannabe novelists: just tell the story. Don’t tell us how you or why you came to write the book. Don’t tell us how wonderful it is. Tell the story. Share the principles. Give us background information along the way if need be, but don’t put your reader to sleep. Backstory doesn’t keep readers reading. Telling the story does. When you make a new friend, do you find out everything about him or her at your first meeting? Do you automatically ask about childhood experiences, likes and dislikes, or intimate details of work and family life? Of course not. You let the information unfold naturally in the context of your relationship. If it helps, think of your writing as a relationship with your readers. Don’t break up before you begin. You came to your manuscript to tell a story or teach a truth. Stick with your primary purpose, and leave the backstory in the background—right where it...

Over the past few years, I’ve had many opportunities to advise others on their writing. In my work as an editor, I correct and improve others’ work. As a collaborative writer, I write for those who don’t have the time, ability, or interest to write for themselves. As a book doctor, I work with my clients to take their manuscript from “good” to “great”—from words others can read to words others want to read. And as a writing mentor, I help others learn to view their work from an editor’s eye. This allows them to make needed corrections before someone else does. Last week, I had the opportunity to critique a friend’s short manuscript. I returned it with no small concern because I’d made a few big suggestions and several small ones. Have I gone too far? What will she say? Not only did my friend write back to thank me, but she made two profound comments. I’ll share one today and another in my next “Write” post. Her first comment: “I worked and worked on it, but I have no problem admitting I am just not experienced enough / haven’t learned enough (yet!) to see all the things you pointed out.” My friend displayed a quality I love. It’s the quality I see in those I consider my mentors, and it’s the one I ask God to give me. When she read my critique, my friend didn’t get upset. She didn’t fuss, whine, protest, or complain. She received what I said whether she intended to follow my advice or not (although, as a later draft showed, she did). In all these things, my friend showed that she’s teachable. You may think it obvious that a less experienced writer would want to learn from a more experienced one. That’s not always the case. In interactions with other writers, I’ve witnessed many who argued and complained about corrections to their writing. I’ve heard them refuse to make needed changes. And at times, I’ve done (or been tempted to do) the same thing. We often compare the writing process to delivering a child. Both involve labor. And when that word-baby finally arrives, it’s yours. None other is as wonderful or appealing. And if someone dares criticize your baby? Watch out! The difference comes in perspective. Do we see others’ suggestions as critique or criticism? Critique is offered with a view to improvement. Criticism expresses pent-up emotion. Critique builds up. Criticism tears down. I offer my writing suggestions as critique. And I love it when those who receive my words display a teachable spirit that helps them move forward. Lord, let it be so in me—in my writing work and in any...

My blog followers may recall that I had the recent honor of teaching at my first writers’ conference. Twila Belk founded the Quad-Cities Writers’ Conference in Eldridge, Iowa a few years ago with the encouragement of author and writers’ benefactor Cecil Murphey. The QCCWC was a weekend to remember in many ways. We kicked off the conference with a stunning faculty rendition of “My Favorite Things,” parodied for publishing by Twila’s sweet assistant, wonderwoman Gail Smith. Here, I offer a less poetic version: #10. FANTASTIC FOOD: I heard this comment repeated often by students and faculty alike. Delicious homemade soup and desserts, a full salad bar, snacks—both healthy and not-so-healthy options abounded. #9. GREAT GIVEAWAYS: Conference sponsors allowed Twila to share multiple copies of both fiction and nonfiction books (not to mention the ubiquitous Christian Romance T-shirts and mugs) at every general session.#8. APPROPRIATE ATTENDANCE: As with many conferences, registrations were down this year. The venue, although reasonably sized, held a few hundred–not thousands. Smaller numbers helped produce a warm, intimate experience. #7. REMARKABLE RESOURCES: Twila asked faculty members to submit recommended resource lists and offered many of their choices in the conference bookstore. Faculty members and conferees also sold and signed their books. My ghostwriter status doesn’t allow me to market much of my work, but in this atmosphere, I could and did. #6. MARVELOUS MP3s: The conference registration fee included an MP3 of every speaker and seminar. This avoided dilemmas (“How can I choose between so many wonderful sessions?”) and allowed the blessings of professional instruction to extend beyond the weekend. #5. CONCENTRATION on CRAFT: Per Cecil Murphey’s recommendation, no agents or editors attended in an official (manuscript-reviewing) capacity. This freed conference participants to focus on improving their writing without the pressure of competition or self-promotion. They also had the opportunity to submit manuscripts ahead of time and, for a reasonable fee, receive a full critique and half-hour appointment with the critiquing faculty member.#4. SUPERB SPEAKERS: Each of the three keynoters (Cynthia Ruchti, Jim Pence, and Jim Rubart) shared messages that inspired and encouraged writers from beginning to professional levels. I’m in awe of their hearts, their talents, and their desire to help others grow and improve. #3. TERRIFIC TEACHERS: QCCWC may not be the biggest conference around, but the faculty was top-notch. In what other small conference could you learn story techniques from veteran mentor Frank Ball or marketing strategies from longtime pro (and breakout novelist) Jim Rubart? Conference participants also had opportunities to interact with faculty members at mealtimes, in personal appointments, and beyond. I was blessed to count myself the least of these among this group of top professionals. #2. SWEET SPIRIT: I’ve sometimes...

I was ashamed to admit it. I kept quiet about it. I wanted it to change. And finally—it did! March 4-7, 2010 marked a personal milestone. As I noted earlier, I’ve taken a backwards (or at least sideways) approach to many aspects of my writing life. I became a published writer during my childhood but had a long hiatus until 2000 when I began writing, then editing for a homeschool magazine. In 2005, through an unusual avenue of grace, I transitioned into the world of CBA nonfiction books. My surprising little secret? In spite of a longtime interest and present career as a professional writer/editor, I’d never attended a writers’ conference. I’d attended and then hosted an Intensive Writing Seminar with my friend and mentor Cec Murphey, but I’d never participated in a larger writers’ event. Why not? I’d made more than one attempt to attend a conference, but something always stood in the way. Not long after our family moved to Florida, I was thrilled to discover a top-notch conference held at a site twenty minutes from our home. I’d planned to attend last year until a tight book deadline kept me home. This year, no matter what, I was on my way: a real writers’ conference—at last! I’ve compiled my mini-report into a list of My Top Five Blessings from the Florida Christian Writers Conference(FCWC). Cited in reverse order, these are: #5. Refreshment: I can’t describe the joy of coming apart from everyday surroundings to focus on the craft and business of writing. The FCWC takes place in the beautiful setting of Lake Yale Baptist Conference Center. A friend’s generous gift enabled me to spend the nights (I’d planned to commute), an incredible blessing. Writers speak about writing—the language of my heart. And when you hear your heart language, you can’t help but find refreshment. #4. Insights: Several amazing keynoters graced the FCWC. Cec Murphey, Jesse Florea, Jerry Jenkins, and Eva Marie Everson inspired and challenged us in unique ways. All know a great deal about the art of writing—but they also know how to hold an audience’s attention. Each one provided personal insights that spoke to the specific needs of those who write—or aspire to write—for publication. They also showed us their passion for God and for communicating truth that brings him glory. #3. Instruction: Throughout the conference, writers had the opportunity to participate in continuing classes about topics of special interest. These ranged from fiction or nonfiction mentoring to classes on screenwriting and branding. My friend Edwina and I had the privilege of learning about fiction under the tutelage of two of my longtime favorite authors, Angela Hunt and Nancy Rue, aka “Nangie.” I love...