Heather Webb

About Heather Webb

Heather Webb is the international bestselling and award-winning author of 6 historical novels set in France, including her latest Meet Me in Monaco and Ribbons of Scarlet. In 2015, Rodin’s Lover was a Goodread’s Top Pick, and in 2018, Last Christmas in Paris won the Women's Fiction STAR Award. To date, Heather’s books have sold in over a dozen countries worldwide and received national starred reviews. As a freelance editor, Heather has helped over two dozen writers sign with agents, and go on to sell at market. When not writing, Heather feeds her cookbook addiction, geeks out on history and pop culture, and looks for excuses to head to the other side of the world.

No, Really, Why Do You Write?

March 28, 2019 By Heather Webb 61 Comments

https://wallpapercave.com/dark-sea-wallpaper

A friend of mine recently asked me why I write. She found she couldn’t answer the question herself, not anymore. She’d lost the love, and she was hoping something I’d say, as well as the other writers around her, would trigger an awakening in her. She wanted to find her path back to the career about which she had once been so passionate. I think we all go through this at one time or other, when life at home becomes difficult, or when everything in your writing career goes wrong. The rejections become unbearable, you lose an agent, your editor leaves and you’re left orphaned. Your sales aren’t what you hoped and there’s question as to whether or not your next book will be picked up at all. Then there’s the dreaded: “Sorry, you’ll have to take a pen name because Jane Doe is dead.”

I’ve recently suffered a painful rejection from someone I didn’t expect. A reminder that no matter how many books you have in print, no matter where you think you are in your career, your books, your ideas, your style are subjective and you can be rejected as easily as someone who has never sold a book before. I don’t think “established” authors talk about this enough. How often we still suffer various forms of rejection. Each book is like an audition, and your work may or may not be selected for the competitive publishing schedule. (This is why it must be about the writing, but I digress.) In any event, one never really grows accustomed to rejection, not really, and when it happens, I think many of us find ourselves asking the same question:

[Read more…]

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Editor’s Clinic with Heather Webb

February 28, 2019 By Heather Webb 4 Comments

It’s been quite awhile since I’ve posted for the King’s Editors, so when I saw this submission, I thought I’d jump in again, give my two cents to show the way an editor thinks. The main character in this selection is a policeman, so I assume this will be a suspense, crime, or thriller piece. That said, given the set up and pace, it reads more like a character story. Sure, there can be some overlap, but generally, it’s obvious what direction we’re headed right off the bat. Let’s take a look at the sample and what I’ve marked, and then discuss what’s working in this piece and what isn’t.

****Sample Starts Here

Mitch Altman navigated the obstacle course that was his living room(1). On his way to the garage, he stepped over the colorful Matchbox cars that were parked and ready to race, zigged to the left so as not to crush a Lego building, and zagged back to avoid Barbie’s Dream House. Once he reached his car successfully, he felt like Clark Kent. It was time for him to change from doting father into police detective. He didn’t take off glasses or don a special suit, but the transformation felt just as dramatic(2).

Ten minutes after he’d been sharing a cup of tea with Lisbeth’s newest doll and trading knock-knock jokes with his son Howie, Mitch parked in his assigned space in the outdoor lot behind the station house. He was now focused and ready for work(3).

Mitch slid out of his car, unfolding his long body until he stood up straight, all six-foot-five-inches of him. He looked like a lit match ~~standing there~~, tall and skinny with the bright red sun reflecting off his ash-blond hair. The Hheat almost made his knees buckle. Nine o’clock in the morning and already it had to be at least ninety degrees. And as if that wasn’t bad enough, humidity thickened the air.; Mitch struggled to breathe in the damp air ~~gooey sludge~~(4). He was sweating by the time he reached the front door of the Lyle Police Station, ~~only fifteen steps from his parking spot~~(5).

Inside, just past the front desk and reception area, there was one large room where the detectives sat when they weren’t out on a call. That bullpen had no windows. One wall sported a few Wanted posters from the FBI and the Connecticut State Police. The other walls were empty, covered only with a faded beige paint that matched the drab linoleum on the floor. The detectives often joked that if they spent too much time in the station, they would confess to crimes themselves. They likened their workspace to a sensory deprivation tank(6).

“Good morning all,” Mitch called out. “Hot enough for you?”

The other detectives ~~looked up and~~ smiled by way of greeting, but lost in thought, their eyes were glazed, and no one answered him.

The room was way too big for the old air conditioner in the front hall to be effective. It had to be at least one hundred degrees on that Friday morning in June(7). Mitch’s five colleagues sat like zombies at their desks(8), periodically sipping coffee and wiping their wet faces with handkerchiefs or tissues.

The station phone rang and suddenly the room came to life as everyone rushed to grab the land line. There was no real contest; Mitch, the former Lyle High School star quarterback, easily got there first. His speed was fueled by the desperate hope that the caller would give him an excuse to escape from this oven and go out to investigate something. Anything.

“Detective Mitch Altman, how can I help you?”

A woman sobbed loudly on the other end of the phone. Finally, she calmed down and was able to answer him. “It’s my daughter. Lillie. She’s gone. Disappeared.”

“How old is Lillie?” he asked. “And how long has she’s been missing?(9)”

~~Suddenly~~ The building itself seemed to hold its breath. All the detectives froze in place as they waited to hear what Mitch would say next.

****End Sample Here

What’s working for me:

You get a sense that Mitch is a good father, that he plays with his kids, and that he values his time with them as much as he does his job, so I like the beginnings of character development here. Perhaps Mitch will be put into a situation down the line where he has to make a choice as to which is more important to him?
There are some interesting descriptions throughout the passage.

What I think could uses some fine-tuning:

(1 & 2) The opening sentence could be stronger. There’s nothing innately intriguing, or interesting about this sentence. It doesn’t allude to what’s to come, and it doesn’t share any sort of wisdom. It does, however, give us a tiny inkling of who this character is, sorta. I’d prefer more. In general, the paragraph isn’t a big draw into the story.

(3) Not needed. We already understand that he’s invested in his children. Let’s get to the action

(4) Using words like gooey make one think of food, or possibly glue, but I have to admit, I saw fudge brownies and caramel ice cream in my head. Make every word choice count.

(5) Extraneous info. We don’t really need to know how many steps he has moved. The writer already did a great job of indicating that it’s really hot and humid outside.

(6) This entire paragraph can be condensed into one effective sentence. Possibly two, if I’m being generous. It needs tightening overall.

(7 & 8) We already know it’s hot. The reader is waiting for the action move forward, for new information, for more on who this character is. Perhaps more voice to hook us into our MC.

(9) The dialogue feels a little stiff and unnatural. Perhaps Mitch could offer a few words to help calm the woman, and then question her, as a policeman would likely do, even if he doesn’t do it kindly.

Overall, I felt the opening of this novel could be stronger. The writer shows some skill in terms of detailing and sentence structure, but their micro-tension in the narrative needs to be honed, and the prose needs some tightening to draw the reader in a bit more. In addition, if this is a thriller/crime/suspense novel, the tone needs some work. Based on this sample, I wouldn’t necessarily buy into this as a suspense novel, which needs to be apparent, even on page one. I do, however, commend this writer for their bravery for submitting for critique. They’re on their way to creating a good story.

How about you? Do you have any constructive criticism you’d like to add to the mix? Remember to be kind and instructive.

Truths about Publishing You Can Only Learn in the Trenches

January 24, 2019 By Heather Webb 35 Comments

I’ve worked like a dog the last two weeks on EPIC copy edits so today, I’m running short on inspired creative thinking and tall on advice. It’s January, after all, and isn’t that when we’d all like a little advice, a little pep in our step to help us take on the new year? I know I do, so here we are with some of the most important things I’ve learned as a published writer (regardless of the publishing path you choose to take). WARNING: some of it isn’t pretty.

Professional Behavior is Paramount

Though professional behavior should go without saying in your field of work–in this case, publishing–you’d be surprised just how damned infrequent it is. It’s important to remember, people perceive who you are as a person as well as who you are as a writer by your behavior. Like it or not, them’s the breaks. Here are a few tips:

Make your deadlines. When a production schedule must be adjusted, it affects many other projects in the publishing line up, and it really ticks the publisher off (as well as other authors whose release dates are being juggled like lemons and sometimes dropped because of you). If you absolutely cannot make the date because something has happened in your personal life, give your agent plenty of notice so she/he can request more time from your editor. They will be a lot more flexible the more up front you are, and as always, the sooner the better.
Reply to important emails and other requests. If you’re a freelancer of some sort or replying to booksellers, book clubs, or other events (also to other writers!!!!!!!!!!!!!!), a week is a reasonable amount of time to reply to emails. Inversely, this means, you should hold your horses and allow up to a week for people to respond to your messages. There’s nothing more irritating than having someone send another email when it’s been only two or three days, or worse, bombard you from multiple social media platforms. Gah! It’s true that we’ve all grown very impatient these days with our cell phones and instant gratification, but we aren’t robots with unlimited time. Respect both your personal workday hours as well as those of others. Boundaries are what keep us sane in a difficult business that often feels very intrusive and also like a rat race.
If you don’t have something nice to say, don’t say it at all. Do not bash your fellow writers, don’t give them poor book reviews, and do not show your envy of their successes—in public. Recently, I’ve seen a handful of Twitter shitstorms from very big authors and it blew my mind. How would they have felt if the tables were turned on them? Sure, we’re all human and need to blow off steam sometimes, but that’s what your critique partners and writer friends are for, to help you wade through the negative feelings that crop up from time to time and to keep you grounded and focused on what matters—the writing.
Always respond to blurb or event requests with grace. Ignoring them is not an option. You would be surprised how often this happens, EVEN FROM FRIENDS AND ACQUAINTANCES. Seriously, I’ve been there a few times, and when you’re hopeful and waiting on them and they don’t reply, it’s not fun. Even worse, is when an author you admire makes some rude comment. Don’t be that person. We all have long memories when it comes to a slight, or what feels like one. If you don’t think the work is for you or you are simply too busy to spend the time on it, tell them you’d like to help but simply can’t this time around and wish them luck. Simple, short, polite. Always respond.

Writing what you want versus writing what will sell

Most writers have at least one idea—well, let’s be honest, we likely have many ideas—that aren’t all that viable for the marketplace for a variety of reasons. The reality is, a working writer who becomes a part of the “publishing machine” very often must limit their scope to the brand they are establishing. Narrowing our scope isn’t something we like to do as creatives, but it’s an essential part of reaching your developing fan base. This is what publishers are concerned with. If we reach our fan base with a reliable brand, we all make money. If you want to go outside of that brand and you’re anything less than bestselling, opt for a pen name.

The other thing worth mentioning is that publishers have loads of data at their disposal and usually can gauge how well a particular topic will sell, at least within a reasonable guesstimate. When they believe they have a product (I know, cringe, but yes, books are products) that can sell quite well, they put all of their marketing power behind it. This, however, is becoming rarer by the minute, these days. Which leads me to my next topic.

Stomaching the realities of Marketing & Publicity

Budgets are being slashed across the board. It’s a sad fact, but it is what it is and the sooner the writer understands this, the sooner they can adjust and find creative ways to make the most of their platforms and their budgets. A few words of wisdom:

High Turn-over Rates: In publishing, there is an enormously high turn-over rate, in particular in the areas of publicity and marketing. It’s a difficult and demanding job and can often prove to be unrewarding. They’re harassed by constant emails and phone calls, and have a tremendous amount of work for editors, agents, and authors to juggle. Because there’s a high turn-over rate, it may also mean you’ll get a brand new publicist who doesn’t have a lot experience or connections assigned to your book. This can be quite disheartening. Your best bet is to split the work with your publicist and try to be as flexible as possible. Also, be a polite pit bull. Persistence and follow up are key, but keep it brief and professional—and don’t overdo it. Do your best to keep your emotions out of things. That never helps.
Set Aside Money in Advance: You have to spend money to make money. This is the most basic marketing manifesto. It’s also the truest. If you aren’t willing to shell out some dough to give your book a push, chances are it won’t go anywhere. If you’re one of the lucky lotto winners at your publishing house, more power to you, but there are so few of these—even for many big, established authors. It’s best to look at your market placement realistically so you can give your book its best chance in the saturated reader-sphere.
Devise a Plan: What will you need all that money for? Ads in papers, magazines, bookish websites, and also Instagram tours, Facebook ads, and/or in-person tours. You may seek out a professional to help you with this. There are some very knowledgeable and reputable organizations that help promote writers. (BUT BE CAREFUL. Do your research. Ask for final numbers, click-throughs, impressions, and also take a look at their client lists. There are loads of Mickey Mouse operations out there robbing authors of funds.) Also as a side note, in-person tours can be very expensive, are rarely covered by your publisher, and hardly ever sell enough books to make it worthwhile. Plus it can be truly humiliating sitting there all afternoon with a stack of books, only to have people walk by you all day and avoid your gaze. I say this with five books under my belt worth of experience. It can be worth it, but you have to really know what you’re doing and that takes loads of time and research.
Hiring Personal Publicists, yay or nay: If you can pull out at least one major hook—and I don’t mean a cliffhanger style pitch, and I don’t necessarily mean the themes in your book—but one major idea that will resonate strongly with media outlets, it may be worthwhile to hire a publicist. Then again, you may be better off just buying up ad space to advertise the book. Most seasoned authors I know swear by the ads-only approach. That said, most of them have also tried working with publicists. The difficulty is, neither of these options can truly be measured. Publicity, in particular, is difficult to gauge. Publicists spend a lot of time researching and pitching articles, interviews, and other projects, and then they have to follow up and “wait and see” if the book they’re working with will be chosen by the media outlets. It’s a BIG FAT “maybe”, in other words. But hey, all of publishing is a risky business. On this point, I think trial and error and going with your gut are the way to go. I have two books that wouldn’t have benefited from a publicist, necessarily, and two that could have. It just depends. Like everything in publishing, it depends.

You will change agents or editors, or both, at one point This is a sad inevitably of the business, but one we must embrace if we want to get our books out there. Publishers merge or close, or begin (!). Editors retire or change jobs to a new publishing house. The same goes for agents. Sometimes, you aren’t being treated particularly well by an agent or editor, and it’s time to take matters into your own hands and make a move. One or both of these things have happened to 98% of all authors I’ve ever met, me included. Embrace the inevitability. It allows you to keep your focus where it should be—on the writing.

The Post-Partum Blues

Launch day arrives to lots of fanfare, and you’re excited as hell! You check yours stats obsessively and bask in the great reviews and publicity, the sheer joy of having your story join the canon that is our great big world out there. It’s truly wonderful. But there’s an aspect few discuss in book publishing, and one worth mentioning both for debut novelists and for anyone, really, who is extremely invested in how those of us with several under our belts. It’s the post-partum blues.

The excitement of a new book launch wears off in a few days, or a few weeks and suddenly, there’s nothing but: [Read more…]

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I Think I Lost my Writing Mojo in the Turkey

November 30, 2018 By Heather Webb 21 Comments

I begin with a deep bow. A deep bow to you, courageous Nanowrimo-ers, for plowing on—and for using all the words I can’t find. I just can’t seem to muster the strength to write. I can barely focus. My brain is made of eggnog and Figgie pudding, and I think my insides are slowly turning to brown sugar and butter. All I can think about is which fantastic holiday goodie I should bake, which cheesy holiday movie I’m going to watch, and the endless sales that are begging me to buy all the things. I find myself wondering how long I can hide in the bathtub with a book, or how long I can go without laundry (we’re down to the swimsuits and bathrobes now).

In fact, I’ve been staring at this blank page for days, trying to summon the energy to draft a blog post for my beloved Writer Unboxed community. That’s how bad it is. So I figured I should follow the famous advice we’ve all heard a million times and write what I know. Well, here it is.

I know that my holiday list of chores is long but enjoyable. I know that I’ve worked extremely hard and at lightning speed all year on three different projects—and I’m tired. My brain wants to hibernate for awhile. And yet, developmental edits just arrived on my desk for one project, and copy edits for another are coming before Christmas. Then there’s my WIP that is in desperate need of attention. It’s been calling my name, nagging me to come back and bring the love.

But, but…Love Actually is on and also my daughter reallllly needs those llama slippers. (I’d better run and get them before they’re gone, don’t you think? Maybe my son would like the Zelda Switch game. Oh, and my husband definitely needs a new Red Sox hat…)

The fact of the matter is, I have wicked holiday torpor.

The week before Thanksgiving it invaded my body and now, every ounce of will power seems to be seeping away. A conundrum to be sure. So I’ve decided I need an optimistic, positive spin on my holiday sloth, because that’s who I am, and that’s what helps me get back to the page. Eventually. For those who are feeling the same way I am, maybe we can do this together. I’ll give you a little advice and you leave me some in the comments? We have to get back to the page, after all, right?

1. Don’t beat yourself up, unless it’s with candy canes. Because if you’re going to berate yourself, you might as well be minty fresh. Seriously, you may just need a break. Plus, aren’t the holidays supposed to be enjoyed? Do it. Enjoy them. No more fussing and belittling yourself. Unfocused work is like two steps forward and one step back, anyway, so take time off when it’s needed.

2. Work in small bite-sized chunks of chocolate. Don’t fight the chocolate covered cherry urges. Instead, have a couple with a cup of tea and choose a few small tasks that you know you can accomplish that day, and leave it at that. The turtle wins the race, after all.

3. Stand like a Nutcracker solider while writing, instead of sitting. I mean, you can relax your shoulders and stuff, and you don’t need to smile like you’ve ingested a bunch of speed, but stand up! Sitting down all day makes me tired, listless, longing for a nap. Standing, on the other hand, helps keep me energized and focused. It sounds counter-intuitive, but there’s something about the blood flow to the brain that works better this way. Give it a go. If you don’t have a standing desk, use a counter top.

And that’s all I’ve got.

Are you feeling me? Do you have holiday torpor?

I’d love to hear your suggestions about how to focus during the holidays. Bonus for funny anecdotes. Also, have a lovely holiday season, friends. I’ll see you next year!

Your Story Deserves More: Putting in the Time

October 25, 2018 By Heather Webb 18 Comments

I have a short post to share with you today with a small but rather important point.

We need to take our time while crafting our stories, to say something meaningful, or to craft a story of which we’re proud, whatever that may be.

I’ve just ordered a pain au chocolat and a café crème in this little café in Nice. I know, poor me. I’ve got my journal and my laptop and I’m jotting down thoughts about tangled plot points as they come to me. I’m also spending some time asking my protagonist questions that may be difficult for her to answer. I’ve had this story idea brewing for some time, but it has become wedged in my brain and I’ve had trouble digging it out, coaxing the characters to talk to me. Maybe the four trips I’ve made in the last two months has something to do with it, or losing my beloved mother-in-law this summer and all that has entailed, or it could also be that I’ve been too distracted by another project. Whatever the cause—and it’s likely a little of all of these things—I’ve had trouble diving back in. Fair enough, right?

But the issue is, I’m feeling so much pressure.

It isn’t just that my life is full. That’s always the case and it’s something I’m grateful for. (Frankly, when it’s not, I’m bored.) The pressure is self-imposed, mostly, but it sort of buzzes through the publishing industry as a whole as well. There’s so much pressure to hit that goal, to be the first to write about that particular angle on a subject, and mostly importantly, there’s pressure to get paid. [Read more…]

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Writing the Authentic Modern Woman (especially if you’re a man)

September 27, 2018 By Heather Webb 52 Comments

This is one of those topics that’s sticky and tricky and I have to admit, I had my qualms about posting it. In the end, it seemed too important a topic NOT to post. Important in today’s climate and mostly, important to those of us who want to be the best fiction writers we can be. (I also thank Therese Walsh, who quietly nudged me to be brave.)

Recently, I worked on three different client manuscripts written by male writers. One of the writers in particular, showed very skillful writing. It was gripping, well-paced, and had interesting metaphors. In fact, I was happily reading along with few comments until about page eight when something happened in the narrative that made me realize—oh, crap, THIS CHARACTER IS A FEMALE. I scratched my head, trying to figure out what was missing. The character was a little rougher around the edges, an anti-princess if you will, which was great. I love a rough-and-tumble female character with a side of badass, so this wasn’t the problem. I started reading from the beginning again, looking for clues. How had I missed this?

And then it hit me, on my second read. This protagonist, in fact, all three protags from the client books I mention above, were missing the same thing. A fundamental piece of being a woman was absent.

The protagonists lacked both body and spatial awareness.

What does that even mean, spatial awareness? Being proud/ashamed of your body and/or your physical skills is certainly a part of spatial awareness, but it extends far beyond this. It’s something that is deeply programmed in our psyches, as women. A message that grows louder as we gain experiences, most of them negative, but some good, too.

And then there’s our relationship to men, and how it relates to this awareness.

It doesn’t matter the male’s size, shape, or ethnicity, his clothing or social status. A male’s age might matter some, but that’s about it. When confronted with men they do not know and in an exposed situation, most, if not all, women feel like a rabbit hopping through a field littered with foxes and coyotes and hawks and eagles. The predators may look different, but they ALL want to chase that rabbit. Rabbits are food for many species after all. Some rabbits are wily and escape, some are just plain fast and get away, and some have strong hind legs and kick the crap out of the predator to fend them off. None of these things change the simple fact that women are still rabbits. They are the prey.

Maybe this is a silly analogy. Certainly, there are wonderful people and horrible people out there, weak and strong, regardless of their sexual orientation, and great and weak writers regardless of their gender. There are also many wonderful men. This is not a male-bashing post, not at all. That’s not my point. Neither is my point that it’s always the men whose female characters lack this body and spatial awareness in their stories—though it’s much more common, and I’ve got a stack of edited manuscripts to prove it.

My point is about craft.

Do your characters reflect this body and spatial awareness? We writers need to take note of these concepts to create the most believable, effective, unforgettable characters we can, so let’s look at some tips to help with this.

Body Awareness

Women compare themselves to each other, in large part because of growing up in a world that bombards us with ugly messages, but it’s also part of our hard wiring to compete for a male in order to procreate and further the species. (Not to go all anthro on you, but anthropology helps us understand these impulses. Also, check out The Female Brain and conversely The Male Brain by neuropsychiatrist Louann Brizendine.) These factors can create an inferiority—or superiority–complex but it can also explain why there is so much emphasis on how women look. This develops into an acute awareness of the way others regard their bodies, and how that changes over time. Women internalize these messages and it becomes a part of the way we, in turn, view ourselves. This could be quite negative or positive.
A female character will notice how she feels. I’m not referring to straight-forward emotions that result from some event in the character’s life. I’m referring to hormonal surges and changes in both mood and physique due to these hormones. They’re cyclical in a woman’s body so it makes sense that we would have constant awareness of these things. Examples of physical changes include aches and the way her body changes after having children—and not just their hips and thighs. Perhaps now she has developed migraines or weird allergies or skin issues post-pregnancy or post-menopause. These sorts of things. We are always on the look out for something shifting and changing inside of us, and how that will affect us on the outside as well.

Spatial awareness

Females are very aware of who is walking in front of them, behind them, beside them. They take note of the distance between them and any male nearby. If they have a choice, they will often move to the side of the street next to another female or select a seat on a bus/train/plane/theater next to other women. It’s safety in numbers and in distance, you see. These are things we think about every single day.

Even in my quaint, wooded little town, I keep my front door locked when my husband isn’t home, and I don’t answer the door when a male I don’t know rings the bell. When the lawn guys are around the neighborhood, I’m keenly aware of where they are and how close they are to the house. If I’m out at night or walking through a parking garage, I tend to find someone to walk with at a distance, or I have my phone at the ready and literally dart to my destination, walking as fast as I can without appearing like a total spazz.

Women are always at risk. We are extremely aware of who and what is around us and the minute we stop paying attention could not only be dangerous, it could be LIFE-THREATENING.

I can’t emphasize this enough. Your female protagonist, therefore, will not walk through a dark parking lot without listening for footsteps or looking over her shoulder, or at least taking stock of the environment around her. If your female protagonist gets into a car with a strange man, or goes home with a strange man from a bar, etc, be careful how you depict her motivations. She must be very naïve or drunk or have a death wish because of pain in her past that has heavily damaged her self-worth to do such a thing. Or maybe she’s a cop or an assassin and knows she can take down anyone. There has to be a strong motivation that is valid, because we’re not buying it. Most women know they must watch their backs at all times. [Read more…]

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Build a World, Hook a Reader

July 26, 2018 By Heather Webb 11 Comments

One of the most compelling elements of any novel is the setting in which it takes place. If a reader can smell the burning sugarcane in the hazy Caribbean heat or feel the scratchy mittens that ward off the chill of Irish winter, the author has done their job. But how does an author create a setting pulsing with life? There’s more to it than meets the eye. First and foremost:

Is your narrative set firmly in place and time?

Sometimes, writers make the mistake of waiting for several pages or even several chapters before constructing a world a reader can really fall into. We get caught up thinking it’s more important to introduce the character(s) or their backstory, or we even get tangled in the inciting incident. But we need all of those things and a strong sense of place and time immediately. It can be irritating as well as jarring for a reader to believe they are reading one genre of book only to discover the book veers in a different direction entirely.

For example, recently, I was reading a contemporary novel that turned out to have magical realism elements about a third of the way into the story, and even a bit of an alternate world as well. Because there had been no groundwork laid from the get-go, no clues or foreshadowing or a sense that not all is as it seems below the surface, I found it unbelievable and I put the book down. We must establish place and time—and any sort of funky, different, magical, far-away, historical elements—on page one. Let’s look at some tips to get us started.

Location, Location, Location: Researching locations far from our homes is so much easier these days with Google and its giant database of resources and maps. That said, it is not the same thing, at all, as having spent time in a location. There is an essence to a place—its smells, its heartbeat, its soul—that cannot be found on the internet. When you can, travel to the location you plan to inhabit in your mind for the next year(s) while working on your manuscript. It’s expensive, but you will bring an authenticity to the page that can’t be faked. Once you’ve done your prewriting and research:

Choose the location wisely.

Is it real or imagined, and what is the probability that the story could take place here? Does it fit the character and their journey? Consider choosing a location that will give your protagonist the largest number of obstacles on their journey. We want to challenge her and force her to face difficulty in order to change.
Who owns the location or space in which the protagonist will be moving – the narrator, someone else, an organization – and what insight does it give us into that character/characters? Are they poor or wealthy? Proud or ashamed? Fashionable or dowdy?
What is unique about the location? Remember to note any items or details of importance to the character or the plot, always being certain it’s done through your narrator’s lens

After you’ve chosen your location, next do a language check.

Language Check. Be sure the language you have used is indicative of the era and location. I will add a note of caution here, however. Keep in mind that adding dialect (or historical speak, foreign languages, fantasy-speak) is like adding a seasoning to a dish. The right amount of salt makes the dish delicious. Too much makes it inedible, so handle with care. Language goes hand-in-hand with culture so guess what’s next?

Be True to the Culture of the Character. A woman from Zimbabwe will not say, do, or eat the same things as a woman from San Francisco, and will likely have an entirely different view of the world. Be sure you have researched any culture you are portraying thoroughly so as to avoid landmines that come with writing what you don’t know. Now that we’ve established the basics, let’s look at how making our manuscript pretty with description adds to world-building.

Description paints a vivid picture, but then again, how much description is enough? I tend to believe that less is more; make description short but impactful. That said, I’m a lean writer so of course I would say this. However, I do adore a slow burn of a novel with lush descriptions as well. Know your style and own it, but keep this very important key factor in mind: description is never filler. It serves a purpose and should do one of two things: 1.) it should advance the plot, or 2.) reveal something pertinent about the character’s inner life. If the description does neither of these things, and is long passages of telling us what Texas bluebells look like and where they grow and how they grow and how beautiful they make the countryside, it should be cut. If Texas bluebells are your protagonist’s favorite flower and they gain a real sense of being home and at peace in walking through fields of bluebells, they stay in, but only within the context of your character moving through this descriptive scene somehow. Or perhaps your character is triggered by the smell of bluebells and they elicit some sort of emotional memory. Action, sensory cues, and description all go hand-in-hand. That’s a big part of balanced pacing and visceral, life-like world-building.

Set the tone and the mood from page one. Just to clarify the difference between the two terms, the tone is the author’s attitude toward the subject, and mood is the emotion the reader derives from the story. These elements are absolutely key to world-building. Tone and mood are clues, or indicators as to how the reader should feel about the character(s), as well as what they should expect from the story. Is it humorous? Feel-good? Sensual? Dark? Is there an impending sense of doom?

Creating a believable and engaging storyworld is bigger than location, mood, description, language, and culture. (I know! There’s so much involved!) It’s about digging deeply into our characters’ hearts and minds. Every piece of this story and this world we’re creating should revolve around our protagonist. Even if you’re writing with a distant third person narrator, the world you build should be a means to illuminate your characters inner lives. Which brings me to my next point.

Construct a Setting as Seen Through the Eyes of Your Narrator

The most important aspect of world-building is to think about the way the setting affects your protagonist as well as how they react to it. A setting is lifeless and is just a bunch of extraneous details without your narrator’s emotional lens in place. For example, no location is the same for everyone. Take two people and place them in the same setting at the same time and then ask them to talk about it. A socialite and a pauper walk into a banquet. How would the socialite describe the setting—what would she notice? Perhaps who was there, what they were wearing, the music playing. A pauper would be hit with the smell of roast and crab cakes and cream sauces, and groan at the pitiful gnawing in their stomach. They would be feeling gauche and ashamed of their appearance, or maybe they would be furious these people have an embarrassment of riches while he sleeps on dirty straw in a barn outside of town every night. If the two sets of impressions from very different characters are similar or have the same emotional tenor, we have a problem.

A single paragraph depicting your narrator’s emotional reaction to the room, and the few individual things he or she notices, will tell us infinitely more about your character than cataloging the inventory. It will give the reader tremendous insight into who this character is, as well as the owner of the space they’ve entered.

Other ways to incorporate a character’s unique view through world-building: [Read more…]

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Juggling Multiple Writing Projects at Once: Exhausting or a Bright Idea?

June 28, 2018 By Heather Webb 12 Comments

Isn’t it funny how your average “lay person”, or non-writer is amazed at the way we can focus on one project for so long? But we’re up for it! We can go the long haul, and we do it well. What these “lay people” don’t understand is how obsessed passionate we are about our works. How could we not finish what we’ve started? We can’t leave John Doe hanging from one limb on Death Star 1. We have to see John through to the end. While that laser focus is incredibly helpful, I’ve discovered the beauty of splitting my focus of late, of working diligently on more than one project at a time. But how many is too many and is the juggling worth it?

[Read more…]

All the King’s Editors–Heather Webb

May 24, 2018 By Heather Webb 18 Comments

Welcome back to All the King’s Editors, our regular feature in which one of Writer Unboxed’s stable of editors line-edits a few pages that has been submitted. This gives you a chance to see editing advice applied in its natural habitat. If you’d like to contribute a sample to be edited, click HERE for instructions.

Remember, editing is as much art as science, and your take on the passage may differ. If so, feel free to join in the discussion at the end, but above all, be kind.

Reims, France 1790

~~Her~~ Grandmere’s gnarled knuckles engulf my fingers as she counts out each stair carved into the chalk crayere, one hundred and thirty-nine steps, not one more, or one less.[1] The ~~strong~~ fishy smell of whale oil burning in her Quinquet makes me sneeze and for a moment the flame dims and all goes black. [2] , mMy bare toes curl into the cold stone for balance. Then the wick flickers back to life and she tugs me forward.

“I know it’s you, Barbe-Nicole. It has to be you.” Grandmere mumbles ~~in the silence~~, her opaque eyes glassy and determined.[3] White gold waves blanket her frail shoulders and reach ~~down~~ to her round middle.[4]

Why must it be me? [5] My insides squirm like a nest of baby mice, terrified Maman will hear us and lock Grandmere in her room again. When she woke me, ancient wrinkles accentuated by the light of her smoking lamp, she clapped her hand over my mouth before I could squawk, and wrapped me in a robe[6]. I ~~didn’t~~ don’t think about slippers, ~~so terrified and thrilled,~~ as I sneak~~ing~~ past my parent’s suite, through our cavernous Ponsardin Hotel, while the rest of the household slumbered.[7] Maman warned me to stay away from her mother ~~Grandmere,~~; Grandmere ~~she~~ hadn’t been herself the past year[8].

But the spark in her bright eyes lit a portal to the past,; her fantastical stories of Marie Antoinette, her midnight sojourns through the crayeres, her constant testing of my inherited talent, as she called it. Even if Maman ~~was~~ is right, and ~~she~~ Grandmere has ~~had~~ lost her marbles, she will~~would~~ always be my Grandmere, the one who believes I am special.[9]

As we reach the bottom of the cavern, smells of oak barrels swollen with wine fuses with ~~the~~ chalk and the green ~~smell~~ fragrance of moss ~~which covers the wine bottles like a blanket~~ [10]. The ancient smell permeates my nose, enervating my sinuses, clearing away my sleepy fog. Goosebumps prickle across my chest and my toes curl into the chalk floor, like a mountain lion ready to spring[11].

Grandmere sets the Quintet on the rough-hewn table, the flame flickering on clusters of grapes she’s lined up, [like before, purple nosegays of sunshine, rain and soil] [12]. I search her wizened face for a clue, but there is no hint in her clouded eyes. She ties a blindfold around my head and nerve-endlings sting inside my nostrils. I sneeze again, cringing.

“Don’t peek.” Her voice sounds as brittle as the nuns at St. Pierre les-Dames.

“You think I’m cheating?” I lift the blindfold and Grandmere pulls it back down.

She places a small cluster of grapes in my hands and brings it to my nose. The vibrant smell of sun and earth and fruit dances a quadrille on my senses.

“Pear and vanilla,” I say. “And touches of Hawthorne?”

She huffs and replaces it with another bunch.
Opening my mouth, I draw the aroma into the top of my palate, smoky like a gypsy campfire.

“Grilled toast and coffee.”

Her soft harrumph means she’s pleased with my answer. The next grapes she hands me are sticky and soft.

“Chocolate cherries, but I’m cheating, now. I can tell by touch they are Pinot Noir from the south slope where we picked yesterday.”

Notes:

There’s a lot that’s working in this piece–lovely descriptions, intrigue, and it opens with action. It’s got a sense of foreboding and great tone. I’m also immediately interested because I’m a sucker for stories set in France–and I also happen to be working on a book, myself, about a parfumeur. Score!
Sensual description is a great way to build a world and to create evocative imagery, but be careful. Too many phrases and sentences of this sort of description–particularly in an opening, but at any time, really–can feel like purple prose. I don’t believe this piece shows purple prose, but there are a couple of places where adjectives or descriptors could be pruned to make way for a stronger sentence, and, more importantly, a clearer image.
Opening lines should be grabby and succinct and above all, clear. It’s legit to start mid-action for sure, but if a writer chooses this format, it needs to be clear who is doing the action. You also typically want to lead with the protagonist, not a secondary character. I do believe this line could be stronger.
Though I quite like the premise and the angle of this opening–the grandmother stealing her granddaughter away in the middle of the night to teach her forbidden things–I would have liked to see the actual hand over mouth, pulling the girl from bed, heart-thumping, as they descend into the cellar.
Overall, this is a strong sample that just needs some tightening here and there, and a little care with tense and pronouns.

[1] In general, I recommend against opening a book with pronouns instead of names, proper nouns of some kind, or even nouns referring to people (the man, the little girl, etc.). It makes it difficult for the reader to discern what’s happening and to whom, as well as in whom we should place our loyalty (the protag). The other issue I’m having, is there is an “as” clause which sets up two actions happening at once–and we don’t even know who these people are. Also, do the number of steps matter that much to the characters or plot? It’s a bit convoluted.

[2] Too many adjectives in a row. I’ve also added “the flame dims” for clarity. I had to reread those two sentences to see what you were getting at. You don’t want to give your reader any reason to reread or be jarred from what is happening.

[3-4] Just tightening to keep the pace moving swiftly and fluidly

[5] My addition isn’t necessary but it does add nice clarity as well as a heightened sense of tension

[6] This sentence is a little cluttered with too many clauses. I think it’s the description of the wrinkled face and lamp that are throwing the sentence off. Also, I think a modified version of this action/sentence would make a terrific opening hook!!! Maybe try an opening line that’s something like this: A hand clapped over my mouth and my eyes flew open in the dark. From there, you could build the tension beautifully as it would be more immediate and urgent, and it would be much clearer what is happening. As written, this bit about the stealing from bed reads more like “backstory”.

[7] I eliminated “so terrified and excited” because it threw off the grammatical balance of the sentence and again, cluttered it. Also, it’s “telling” us how she feels rather than “showing” us through her body language. You already mention squirming insides and being terrified two sentences before. If you want to reemphasize that here, give her a pounding pulse or racing heart, etc.

[8] Cleaned up some pronoun confusion

[9] Most of this paragraph is written in the past tense as backstory. To make it more immediate, it should be in present tense. Again, it dials up the tension considerably and puts the reader more directly in scene.

[10] Moss covering the wine bottles is a nice detail, but this last clause is giving the sentence a run-on feel. I’ve clipped it for pacing. You could rework this to include the detail, certainly. Also, you’ve used “blanketed” in the first paragraph to describe Grandmere’s hair. Repetitive

[11] We’ve seen toes curling into the floor in the first paragraph. Repetitive

[12] This blue text is confusing and doesn’t seem to go with the rest of the sentence. Did she line up other grapes and and soil and these other things? In other words, her Grandmere has tested her on many different scents before? Clarify [Read more…]

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Good Advice, Bad Advice: Writing through the “Shoulds”

April 26, 2018 By Heather Webb 19 Comments

How many posts can we read on writing advice? I’ve read hundreds, bought at least a dozen craft books, and, yet, I always come back for more. Why is that? I’m passionate about improving my craft, but also for me, it’s about inspiration. I’m always hoping to find a little nugget to light a fire under me, or find some fresh way of looking at an issue that has me stumped with a new project. Each book, each project, after all, has a unique set of needs. So without much ado, I’m going to share a few of my own writerly tips.

We begin with the very most important point:

1.Work your butt off. No really, WORK YOUR BUTT OFF. Writing is challenging and exhausting and time-consuming (and magical and exciting and so much fun and we’re the luckiest people around), but there’s no room for excuses. People who make excuses don’t run the world. They don’t finish short stories or books or become published. If you want to write, then make like Nike and JUST DO IT, and do it with all your heart.

2.Be humble. When a writer behaves like a special snowflake, their writing life is often an arduous one—both on the page because of internal expectations, and also with others in the business of publishing because of prima donna behavior. No one likes to be around an ego-maniac or a drama queen. They aren’t fun to play with, and they are especially difficult to work with. Another note on this. The most difficult thing about the publishing industry is that one minute you’re flying high and full of hope and promise because you’ve just signed with someone, or had a book release and it’s selling well. The next minute, you’re looking for a new agent or editor, or a book you loved doesn’t sell well (or at all), and you have to fight your way to another deal. This isn’t to be a downer, but to ground you in reality so you may have the best tools on your path to success. One minute we’re up, the next we’re back in the trenches, so it’s important to remain humble and generous with others. We, the creative talent in this operation, must stick together and help each other out. And remember, you aren’t better than anyone else, at least not for long.

3.Surround yourself with people who inspire you. Life is hard enough as it is. Dump the dead weight, the nags, the negative nellies, and the poor-mes. They add nothing to your life, weigh you down, and they sure as hell don’t help you feel good about yourself in a difficult business. I think this is especially hard to do for women because we have a tendency to want to take care of everyone, not rock the boat, avoid drama. The best way to avoid drama is to eliminate these people from your life. You’re worth it. Your passion for writing and great story is worth it. Surround yourself with people who fill you up and challenge you, not those who deplete you.

4. Read every single day. There is always time. Everyone can read for ten minutes before bed, or listen in the car, or while cleaning or cooking or walking. Lose sleep, even just a few minutes. Reading matters. There are dozens of studies that show its direct correlation to writing skills. Not only that, but it’s a terrific way to study the craft while enjoying yourself. I’ve learned more from reading fiction than all other methods combined.

5.Consistency matters more than quantity. Some days we write 500 words, some days three sentences, others 3,000 words. Don’t judge your quantity, judge your routine, your dedication, and your consistency. The turtle wins the race.

6.Don’t compare your journey to others. For one thing, it doesn’t help us write any better or sell more books. For another it makes us feel like a loser. It’s easy to be eaten up with envy in a creative business. Transform that envy to fuel, to once again, WORK YOUR BUTT OFF. And always be proud of what you’ve accomplished. Seriously, be proud. You’ve earned every tiny and major success, including finishing a scene, a chapter, a book.

7.Give yourself time to “refill the well”. If you’re writing well or “correctly”, it takes a monumental amount of intellectual and emotional, never mind creative, input. Though exhilarating, it’s also exhausting. Strike out on adventures, dabble in other hobbies or creative pursuits you love. Fill your well with richness and replenish yourself so you have more to bring to the table on that next writing day, or with that next project.

8.Be flexible about your vision. Each book we write changes us. The direction you thought you wanted may not be the place where you end up. Be open to change. It could very well send you to the moon.

9.Don’t forget to live in the present, not just in your fictional worlds. It’s easy for us to get lost in other worlds. That’s one of the biggest draws to writing. But if we don’t have life experiences and interests and knowledge and skills, we would have no creative well in which to dip. Be present. Absorb. Engage. It can only make your books stronger.

Conversely, for all the great advice out there, there’s a bunch of BAD ADVICE as well. A few of my favorites are:

1.Start your own blog, especially to talk about writing. If this is something you enjoy, go for it. But the fact of the matter is, there are hundreds of writing blogs. When you blog about writing, you’re growing your publishing community (definitely a good thing), but it’s NOT a way to reach readers. How many novels have you bought after reading an author’s posts from their writing blogs? I do, however, recommend engaging in a writing blog that is associated with a community like our beloved Writer Unboxed for all kinds of reasons (a post for another day).

2. Write what you know. If we did this, there would be a load of books about writers in yoga pants with huge piles of laundry to wade through. Snoozzzze fest. Obviously I flout this rule completely as a historical writer. You should, too. Part of what is so exciting about this passion of ours is branching out and learning, stretching and growing. Wade into uncharted waters and see what happens. If nothing else, you’ll learn something.

3. Rock social media like it’s going out of style. I enjoy social media as an extrovert. Connecting with people is fun for me since I’m typically alone all day in my fictional world. That being said, the longer I’m in this business, the more I realize how much social media detracts from a writer’s psyche. Also? If you haven’t figured out a way to reach readers online, once again, you aren’t selling books. Choose which platforms you develop wisely. Doing them ALL isn’t effective or practical. (Also, there are some new studies that show social media is indirectly related to book sales, and on a much smaller scale than we realize.)

4.Write every day. This industry is too full of “shoulds” and doesn’t have enough “coulds”. Sometimes you just need a break, (which takes us back to refilling our creative wells). As I said before, WRITING IS HARD. If you don’t rest once in awhile, you may find yourself in burn-out mode.

P.S. If you want to write good books, it never gets easier so you must really LOVE what you do.

What’s the best—or worst—advice you’ve heard?

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Serendipity, Zeitgeist, and the Interconnectedness of All Things (In Writing)

March 22, 2018 By Heather Webb

Can you think of a moment when something felt so right, it seemed as if idea or information was whispered directly into your ear by a little fairy at exactly the right moment? Or there was that time you picked up a book that called to you for some reason. Perhaps it was on your shelf for months—years—but at that moment, you knew it was time to read it. Boy, are you glad you did, because as you’re reading, you notice, oddly, that this book holds a lesson for you that came at the precise moment you needed it.

I was recently reading Big Little Lies by Liane Moriarty and had a major A-HA! moment. Though the novel or genre is nothing like my work-in-progress, it got me thinking about my manuscript from a different angle at EXACTLY the right moment. In fact, that little piece of inspirational gold has up-ended the entire structure of my work-in-progress. (This is why I don’t buy the excuse that reading novels by other authors while working on your own is a bad idea. I’m inspired constantly by reading, either through a research gem, or a craft gem. Reading is a hugely important part of the writing process. But I digress…) Needless to say, it amazed and delighted me. There have been many more of these magical moments along the way….which made me think:

Where do these little gems come from, and how do know exactly when to pick that book or listen to that song? Is there something ordered about these A-HA moments that we don’t understand? Where do they come from and what do they mean?

We’re under so many influences, from social media to pop culture trends to political trends. Writers (and other artists) are particularly sensitive to these influences. I would go on to say we have a certain vision of the world others don’t; we tend to be more aware of nuance and behaviors and details that are pregnant with meaning. Does this, therefore, mean our portals are more open to serendipitous occasions in which we find PRECISELY what we’re looking for–or need?

Some would call this serendipity. I call it being tapped in to something greater than ourselves. Some sort of zeitgeist or energy field or God, if you will. [Read more…]

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