Category Archives: Guest Posts

Epistolary Writing by DG Kaye

Epistolary Writing by DG Kaye
Photo by Debby Hudson on Unsplash

Hi Wendy, thanks so much for inviting me over again to your blog. Today I want to talk about writing in Epistolary style. What is epistolary writing? As a nonfiction/memoir writer I’ve been exploring this form of writing for a book I’ve been drafting about grief. I am seriously considering presenting the book in this form.

Epistolary writing is a style that addresses the reader through a diary format (think Bridget Jones’ Diary) or in journal or letter format. In this era of digital life, epistolary writing can also include email and blog post entries, police reports, newspaper articles and transcripts. This style involves the writer speaking directly to another person, expressing the bond in a particular relationship through the content being written, which gives the reader an intimate peek into the writer’s private self and thoughts regarding the person she is writing to, and an inside scoop into that relationship between the writer and the character being spoken to. Journal and diary entries are more contemplative writings, but there is also the method of writing strictly in dialogue. Epistolary writing is in essence writing dialogue from one’s self. It is important that the writer let the reader know to whom they are writing to. Epistolary stories can involve one or more characters the writing conversation is being directed toward.

Often, in this form of writing, the focus is more on evoking emotion, more so than a dialogue driven story. Epistolary writing is also classified as a sort of confessional-like writing, also known as monophonic point of view, letters to one specific character. It is referred as ‘dialogic’ if two people are writing letters, or, ‘polyphonic’ with three or more characters writing and receiving the letters. It is ultimately, a first-person point of view that allows the reader to get inside the writer’s thoughts. It’s a correspondence between characters or to a character. This form is a different take from third person POV where the usual plots and characters are the driving force of the storyline. Instead, the reader gets to understand the character’s interactions through what is implied by the writer.

The word -Epistolary, is derived from the noun – Epistle, which is the Greek word meaning ‘letter’. This is an actual literary genre that pertains to letters written for delivering story through personal messages from the writer to her subject(s). This format can be used as context for a relationship, friendship or even a business relationship between the writer and receiver.

Because this method of writing is a person telling, it can be written in multiple tenses. For example, the writer might go back in time with an entry and bring it up to present to invite in some tension. In most stories in other points of view writing, they are written in the classic, ‘show more, tell less’. This could be challenging to write in epistolary form because there is no narrator building a scene. But description that paints a picture to the reader can still be done. The more ‘real’ a story feels to the reader, the more they will engage in the emotion. Epistolary stories can be written in both fiction or nonfiction.

In summation, epistolary writing should be authentic, engaging to draw the reader into the emotion of the story, and it should not include any explanations or backstory.

One famous known book written in epistolary form is:
The Diary of Anne Frank, where the young Anne wrote in her diary, Dear Kitty, through her hiding during most of WWII, and ultimately, her capture in the Holocaust.

Just a few more to mention of many more contemporary novels:
The Perks of Being a Wallflower by Stephen Chbosky, where his story is told through letters in this coming-of-age story.

Permission by SD Chrostowska, told in a one-way correspondence consisting of anonymous emails sent from the author to a famous (ghost writer) visual artist.

The Beatrice Letter (part of the Unfortunate Events series) by Lemony Snicket, written in notes and letters.

The Screwtape Letters, a satire, originally written in 1942 by C.S. Lewis written in letters by the demon Screwtape who writes letters to his novice demon nephew Wormwood, a government worker residing in hell, directing his nephew on how to best tempt humans to be led astray.

The Color Purple, Pulitzer Prize Winner by Alice Walker, writes to her sister and Dear God diary entries by the protagonist, Celie.

Most recently, The Martian, written by Andy Weir. His character Mark Watney logs in journal form about being stranded on Mars. (Played by Matt Damon in the movie version.)

In my own book on grief, I’m planning on writing as the widow I’ve become, writing to my beloved husband who has recently passed on.

I hope you enjoyed learning about this not so common form of writing style.

©DGKaye2022

Debby Gies is a Canadian non-fiction/memoir author who writes under the pen name of DG Kaye. She is born, raised, and resides in Toronto, Canada. DG Kaye writes about her life experiences, matters of the heart, and women’s issues, hoping to empower others.

She loves to tell stories that have lessons in them and hopes to empower others by sharing her own experiences. She writes raw and honest, hoping that others can relate and find that we always have a choice to move from a negative space to a positive. We need only the courage to take the leap.

Awards
christoff-fischer best non-fiction award – Have Bags, Will Travel
Gold Star Award cover art-words we carry from thebookdesigner.com
dgkayewriter.com/awards

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Write What You Know by Cindy Tomamichel

Photo by Gift Habeshaw on Unsplash

I generally dislike the advice ‘write what you know’ since it conjures up mages of creative writing classes writing about having coffee and writing or similar boring literary scenes. Where is the space for flights of fancy, of flying rainbow pooping unicorns or space battles in the year 3121? Do sentient cats get a look in, or cybernetic dogs, or… Well, you get the picture.

However, on a small scale it does have merit. An experience that you have can be slotted into any sort of novel. I remember reading ‘Murder in Mesopotamia’ by Agatha Christie and marvelling at the depth of detail that perfectly described the daily life of an archaeologist. Of course, she knew – she married one and spent time on digs. This time she no doubt ploughed for her novels ‘Death on the Nile’ and “They came to Bagdad’.
For myself, I have worked underground as a geologist, so I have a romance book with a female geologist and an archaeologist which uses some of this career. (Rocky Road to Love). But I also have an unpublished scifi set on an underground mining planet full of predatory mutants and lethal female mercenaries. Totally different books, but they both use my personal experiences as a mine geologist.

Or it might be a person you met. Not necessarily someone you hate and kill off in a gory fashion, but a habit, a look or an actor. For one of my SMP Druids Portal books, I relaxed watching (way too often) Aquaman movie trailers, and so my hero looked a lot like Jason Moama, and I had to retrofit a grandson to be physically bigger, and joke about an unknown giant in their ancestry, as he was bigger than his parents. Another book I was writing and went to a music gig at a pub, and the character walked across the room and into my novel and acquired a name from a song. It was a magical moment.

So you can write what you know, but not verbatim, obviously. How far can your imagination twist your own experiences? Quite a distance! Otherwise, my novels would feature a crazy cat lady and her love of cardigans, rather than action adventures in time and space.


Cindy Tomamichel is a multi-genre writer. Escape the everyday with the time travel action adventure series Druid’s Portal, science fiction / fantasy and romance short story collections. Discover worlds where the heroines don’t wait to be rescued, and the heroes earn that title the hard way.

Writers struggling with social media and platform building can get some practical organization help in the free “30 Organizing Tips for Writers” book. Doing NaNo this year? Grab my free help booklet ‘NaNoWriMo Ready’.

Contact or follow Cindy on:

Website: https://www.cindytomamichel.com/
Facebook: https://www.facebook.com/CindyTomamichelAuthor/
Twitter: https://twitter.com/CindyTomamichel
Amazon: https://amazon.com/author/cindytomamichel
Newsletter: https://tinyurl.com/AdventureNews
Bookbub: https://www.bookbub.com/profile/cindy-tomamichel

Being a Word Smith by Robin Moyer

Image by Engin Akyurt from Pixabay

Language — the words we use to express ourselves can be concise or overly confusing. Everyone is basically familiar with the idea of marriage vows. We all know they are interpreted to mean that we will stick with that other person come hell or high water, through good times and bad, and be faithful to them. At one ceremony I had, I always think I might have been jinxing myself from the get-go. Turned out he didn’t honor any of them. In this ceremony, though, the words used, in part, were, “Cleave ye only to each other as long as you both shall live.”

Language. Cleave not only means to cling to one another but also to cut apart. Funny how they don’t use that phrase anymore

But it goes a long way to exemplify the importance of using the right words when attempting to communicate.

According to Robin Marantz Henig, “The English language has 112 words for deception, according to one count, each with a different shade of meaning: collusion, fakery, malingering, self-deception, confabulation, prevarication, exaggeration, denial. Some languages have innumerable The Inuit have 47 words for snow. Tamil is an official language of the sovereign nations of Sri Lanka and Singapore. They have fifty-plus words for love. English has love, like, adore, infatuated all more or less defined by words like ‘a lot’ or ‘unconditionally.’

Language is full of descriptive words. Beyond the ‘making story,’ we have a wealth of ways to bring actions and locale alive — it is one of the best parts about being a writer. We get to play with words. Best sandbox ever! Above, I asked about your least favorite words. My least favorite word is VERY. Mark Twain once said, “Substitute ‘damn’ every time you’re inclined to write ‘very;’ your editor will delete it and the writing will be just as it should be.”

Why say ‘very bad’ when you can say atrocious? Don’t say ‘very poor’ — say destitute. Very is a very, very, very poor word to use!

As writers, our job is to communicate. Regardless of the type of writing, if we fail to impart the concept we are trying to describe or explain, then we fail. Given the vast number of cultures, religions, and lifestyles that may or may not perceive any scenario as you or I might, language becomes even more important.

So what got me on this latest ‘wordy’ kick? I’m two-thirds of the way through a book named The Dictionary of Lost Words: A Novel
by Pip Williams. This is following mid-step my reading History in English Words by Owen Barfield. I’ve always had a love of words: where they came from, how we use them, why use one and not another. My grandmother once said I’d grow up to be a lexicologist or an etymologist. I told her I wanted to be a writer. (and I thought bugs were creepy.) Not an entomologist, she had explained before saying that good writers were both. Two days later, she handed me a notebook and a dictionary.

Over the years she’d ask me what my latest favorite words were. She’d also ask me about words I thought were ‘important’ words or boring words or over-used words. She taught me how words spelled the same and pronounced the same but had different meanings were called homonyms. Book (to read) or book (a reservation) for example. Then she threw heteronyms my way. Just because (at the time) I was invalid, my excuse not to learn was invalid. She didn’t believe for one minute that such a minute issue should ever stop me from learning. She wasn’t finished. Then there were homophones.

These, it turned out were the tricky ones. These are the words people often mix up and use the wrong version. Your, you’re, and yore. Their, they’re and there. Rein, reign and rain. Two, to, and too.

I was hooked. My grandmother bought me many notebooks over the next few months. Then she said I needed to buy them. I was crestfallen. I had no money. “You’ll buy them with words,” she’d told me. “Lists of words. When you need a notebook, I’ll give you a list I want for the last page of the old notebook.” Colors beyond red, green, blue, etc.. Synonyms for hot or set or school. Later on, she’d have me write a description of something without saying what it was. Or having to describe a color/place/activity to someone who was blind. (As I spent almost a year unable to see, I always enjoyed those.)

She’d have me describe something. Once I spent over six months describing a simple wooden rocking chair. Then she’d tell me to write it again, but differently. Next, I’d have to write it from the perspective of a cat or a mouse or a mother holding a baby. Once, I had to write it from the perspective of that area on the crossbar I always seemed to miss when I dusted. Then from the chair itself. Over the months, that blasted chair grew a history. It developed a personality, had dreams, temper tantrums, and felt loss, grief. hunger and joy. [side note: I still have that rocking chair!]

Some of my favorite words? Myriad for sure – so many – like a meadow full of butterflies dancing to the song of the breeze. (That, and I love how it sounds!) Another is the word and because it links and keeps things/people/places and words together. And, due to my grandmother, in part, the word grand. So many meanings on multiple levels. That, and the fact that my children’s children call me simply, Grand. No Grandma or Nana for me. How do I love being a grandmother, indeed, a great grandmother? It’s grand, simply grand!

My grandmother seeded my mind with a love of words. It’s still blooming.


I’m Fyndorian and Robin Moyer. I’m also Great-grams, Grand, Mom, and Hubby’s other half. Beyond these, there is a space, a fathomless well of unsprung thoughts that exists inside me. I write to pull forth the words; grasp and yank them screaming or dancing, from deep within, and set them free upon the page. Cut me: I bleed ink. This, this is why I write, for if I didn’t, then I shouldn’t be alive at all. Writer, poet, author of seven books with four more in progress. My company, Wynwidyn Press, hits the ten-year mark later this spring.

My award-winning series, The Journey Collection – (Journey to Jukai, A Gathering of Glass, and A Masquerade of Mirrors) is available on Amazon in both print and Kindle versions.

Three Tips For Writing Compelling Dialogue by Rita M. Reali

Photo by Julia Kicova on Unsplash

When folks in the writers group I belong to comment on the work I submit each month, the most frequent comments I hear are how spot-on my dialogue is, how I seem to have captured the essence of each character through his or her words, and how the dialogue really rings true.

I’m often asked how I manage to write such realistic and compelling dialogue. It boils down to a few key elements, which I’ll share with you here.

First, it’s important to realize how real people speak. You probably wouldn’t ever hear anyone have this conversation:

“Where are you going this weekend?”
“I am not sure where I am going this weekend. I think I might go up to the mountains. They are really pretty at this time of year.”
“Yes. I understand the mountains are pretty this time of year.”
“I would also like to stop in to see my cousin. She is going to be having surgery next week and she is pretty nervous. So I thought I would pay her a visit.”
“That is nice of you. You are always so considerate.”

This exchange is stilted and awkward. Folks just don’t talk that way. If you listen to conversations around you, you’ll realize people tend to use contractions – and speak in sentence fragments. A lot. Here’s how this bit of conversation would sound if two real people were having it:

“Where you going this weekend?”
“Dunno. Maybe the mountains – they’re really pretty this time of year.”
“Yeah, I’ve heard that.”
“I’ll probably stop in to visit my cousin, too. She’s pretty nervous about her surgery next week.”
“That’s nice of you. You’re always so considerate.”

It’s 50 percent shorter, it’s more direct and it sounds more natural. People rarely reply to questions with full sentences – or by including the wording of the original question; they respond in fragments. I also used contractions. Not including contractions in speech sounds wooden and unnatural.

Second, be aware of what your characters are doing while they’re speaking. Include beats that give readers a visual on what’s happening. Here’s part of an exchange between two characters in my work in progress, Brothers by Betrayal. Gary is talking with Erin, his teenage daughter, who’s been grounded for two weeks (but who wants to go out with her friends for her birthday tomorrow):

Gary leaned against the doorjamb, his arms folded. “Look, Erin, you keep saying you want me to treat you like an adult. Then act like one. Children whine. Grownups accept the consequences of their actions without complaining.”
“But it’s not fair.”
He shook his head. “I’m done discussing this, Erin. I told you no and that’s final.”
“But Daddy…” she whined.
“Punkin, I gotta be up early in the morning. I’m going to bed. Talk to me again on Monday.”
“But the party’s tomorrow night.”
“I’m aware of that. And we’ve already established you’re not going.”
Erin thrust her lower lip out in a pout. She kicked at the leg of her desk. “Then what’s the point of talking on Monday?”
Gary gave a weary sigh and shoved away from the doorjamb. “I’m not having this discussion with you now, Erin. Goodnight.”

Note the absence of “he said” and “she said.” The only attribution is “she whined,” which tells the reader how the line gets delivered. The rest of the excerpt uses beats – snippets of narrative that precede, follow or are interwoven amid dialogue – to clue readers in to action taking place with the dialogue. Sometimes, when action is concurrent with dialogue, the author will interrupt the dialogue with a beat. Like this:

Inside, Gary approached Paula G., the woman who was serving as leader for the meeting. “Hi Paula, I’m Gary” – he laid his hands on the teen’s shoulders – “and this is my daughter Erin. This is her first meeting.”

I tend to get pushback from the writers group denizens about my use of en dashes with spaces to offset beats within dialogue. As it turns out, it’s a U.K. style. U.S. style favors em dashes (—) with no spaces. For a fine discourse on use of the various dashes (en, em and 2em) in your writing, read this blog post.

Third, run your dialogue aloud to hear the cadence of the words instead of simply seeing them in print. Often, we write what we think we want our characters to say, only to find, when reading it aloud, it’s clunky or awkward. And if it sounds off to you, think how it’ll sound in your readers’ heads. And no matter how fond you may be of a bit of dialogue, sometimes it has to go. The difference between a good writer and a great writer is often the willingness to excise those bits of dialogue that don’t sound right or advance the story.

For more tips on ways to improve your dialogue, check out this helpful article from the folks at Writer’s Digest.

When you’re tackling a tough bit of dialogue, what advice do you find works best for you?


Author and Editor Rita M Reali

Rita M. Reali is an international award-winning author and longtime editor who most enjoys editing memoir, general fiction and romance, along with inspirational writing. She’s self-published four novels: Glimpse of EmeraldDiagnosis: LoveThe Unintended Hero and Second Chances – the first four in the seven-volume Sheldon Family Saga. Her fifth novel, Tender Mercies, is due out this June. As a former disc jockey in her native Connecticut, Rita used to spend her days “talking to people who weren’t there” – a skill which transferred perfectly to her being an author. Now she talks to characters who aren’t there on “a little chunk of heaven in rural Tennessee.” Contact Rita.

Rita Reali Books

Creating Credible Characters by Valerie Holmes

Photo by Dave Lowe on Unsplash

No matter what genre of novel a writer creates, a protagonist lies at its heart. Whether an alien, a mythical beast, or a human the reader will want to connect with them. Why else would they continue to read on to discover what path and challenges are ahead? In a romance it is the two main characters that take centre stage as their relationship forms, is thwarted but ultimately endures. In other genres the reader may follow a single protagonist to a satisfactory, if not, a happy ending.

The writer’s aim is to convince the reader to believe in these characters. The protagonist is at the centre of everything; they need to be credible and believable, even if they are not plausible in the realm of our own world.

Every action and decision they make must be convincing. As author’s we want the readers to experience events through this main character(s) eyes: joy, fear, exhilaration, disappointment and hopefully success. They have faced challenges and overcome the barriers that were placed in their way by well thought out plots.

Empathy for them, once developed, should lead to pages turned and future books read – especially, in the case of a series.

To achieve this, a writer must know their characters intimately so that everything they do, think, and say will support the developed plot, enhanced by the skilfully written detail of setting – the world that the protagonist and the cast of characters inhabit.

If you think of these characters as real people and develop profiles for each, the protagonist’s profile will be more detailed than minor characters, although they still need to respond and react true to type, therefore, the author must be well versed in the ‘type’ of character they are.

Your profile should cover the basics: physical aspects, appearance, age, height etc.

But then dig deeper: –

What is their emotional state?

What is their unique back-story that led to them being the person (or alien) they are now?

What family/friends/ associates/colleagues do they interact with?
Are any of these toxic?

What goals do they have and what stands in their way?

Nobody is perfect so what flaws do they have?

Are they haunted by the past or motivated by their potential future?

Do they crave love, are they driven by a quest, or seek to save the world?

What are they uniquely good at?

What would make them act out of character?

What are their loves/hates?

Do they have vulnerabilities or insecurities?

Do they have secrets and, if so, what would happen if they were discovered?

How do they change and grow as a result of the events they face throughout the plot?


All these questions will help define the characters so that their reactions, actions, and interactions will flow smoothly and make them live on the page.

Whether they are asked of the protagonist or antagonist, or supporting characters, this is valuable background information that will add depth to your writing when the knowledge is applied to their interactions.
At all costs avoid stereotypes, they will not work and may offend the reader.

When the protagonist first appears make their entrance count. They must appeal, interest, or intrigue your reader so that they continue to follow the story.

What is it about them that captures attention? Is it their appearance, attitude, intelligence, or a unique feature that makes them stand out?
Once the characters have been created then they can be let loose on the pages of your manuscript as the novel takes shape. Structure, plot, and pace are essential, but without believable characters that convince, hook, and delight the reader there will be no life and depth to the story.
Everything they say and do should show the kind of character they are. Props can be used to embellish this process, if they add something to their development and the use of which aids the core plot move forward.
Whatever details the author knows about a character, it will be more than need ever be shared on the page. Exposition – description and ‘info-dumps’ – should be avoided as they slow down the pace of the plot, so only feed information to the reader on a need-to-know basis; instead, use this valuable background knowledge to breathe life into your characters’ thoughts, words, and deeds.

If the characters created feel real to the author, then they will to the readers of the novel, which is the essence of successful and memorable fiction.


Author Valerie Holmes

Valerie’s love of writing and creating stories began in her childhood. Now, as an established author she loves sharing that love by tutoring students in the art of creative writing. Her career to date spans 5 novels, 46 novellas and working as a tutor for the London School of Journalism, Writing Magazine and independently via:

www.ValerieHolmesAuthor.com

Her romantic adventures are mainly set in her beloved home county of North Yorkshire in northeast England. It is an area of majestic moors, rugged coastline, and beautiful market towns of Whitby, Northallerton and Harrogate and historic York. The early nineteenth century (Regency) was a period of huge social inequality and change, smuggling, espionage, and industrial innovations that all served to add drama to many of her romantic adventures.

Valerie’s work has been compared to romantic classics: ‘Wuthering Heights meets Poldark.’ Romance with a darker touch of mystery added.

Recent publications: Betrayal and The Baronet’s Prize now available on Amazon and KindleUnlimited.

When not working Valerie loves to walk in the countryside with her two loyal spaniels, bake, research historic locations, and travel broadly with family and friends.

www.ValerieHolmesAuthor.com (10% discount off fees if you quote this article)

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