Essentials for SEO Article Writers

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This is a revised article of an older version on this forum. Additional and updated material should provide a better guide to SEO articles.  As always, any suggestions or feedback is appreciated.

Regardless, this article is for those who have some idea about blogging and digital articles.

Introduction to SEO Articles

Articles are attractive specimens for the presentation of information. In our age of information, the internet is rife with these nifty critters. Surprisingly, few fully understand it, but I will address that here.

While the method of writing an article is solely up to the author, there are some guidelines to understand. These pointers should improve searchability and make the lives of both reader and writer convenient.

SEO Articles—What Are They?

The Definition of SEO

SEO stands for Search Engine Optimization. It is a convenient and lucrative way for a brand to advertise itself. Usually, through search engines like Google, Yahoo, Bing, or Duckduckgo, an article with good SEO will appear higher on the listings.

This feature encourages viewers to visit the article’s page. As a result, the page gets higher views and ratings. With increased scores, search engines rank the page higher, leading to more visits.

In other words, the SEO is like the pitch given to the search engine. Better pitches get better hits. Here is an idea:

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Types of SEO Pages

There are many types of web pages with SEO. Here are some to consider:

  • Product review pages: designed for the retail of goods and services
  • Blog posts (like this one): a flexible—and popular—way to engage an audience
  • News articles: essentially a digital newspaper or magazine
  • Guides and pointers: instructions on ‘how to’ something
  • Vlogs: pages that—unlike blogs—focus more on video and visual presentation; text transcripts work in this scenario
  • Glossaries: lists or dictionaries that viewers can reference

How to Write SEO Articles

Preparation for SEO Writing

Before you write that excellent SEO article, you must plan out what you intend to publish to the world. Ask yourself the following:

  • What idea is worth pitching?
  • What is the objective of this article? What are the keywords?
  • How does one present said idea efficiently?
  • What type of audience should the article target?
  • How long should the article be?

Define Your Goals

Keep it simple, but detailed enough that it satisfies what readers need. For example, on a product review page, the prose should be alluring and informative. Use supplementary blogs and pages to add to your testimony.

Google, in particular, ranks articles higher if other blogs and pages link to it. This suggests trust. If you link to one person’s blog, they—or someone else—may return the favor. Forming a web of digital blogging networks is an excellent start.

Keywords and key phrases

Identify what your article is about with a few core words. Let this be the crux of the article, what drives it. Include it in the title, intro paragraph, and ending paragraph. Distribute the keywords throughout the section in an informative way.

Do not go overboard. This may seem sloppy and unappealing (the keywords should be around .5% to 1.5% of the words, for most articles). This will boost the quality of your SEO and attract more readers.

Develop a spreadsheet first, detailing the data about keywords and potential competition. A simple Excel or Google spreadsheet works well enough. You can also use AdWord to help with the analytics of it all.

Remember, research, double check, and research again. The level of research you pour into an article will illustrate itself through length, clarity, uniqueness, and readability. Perfection is an impossibility, of course, but it is a solid ambition.

Audience

It is essential to know your viewer base before article construction. Different age and ethnic groups react differently to content. Research can help you identify the right audience group.

Depending on your reader base, the prose and complexity of the article should scale appropriately. For example, younger viewers prefer faster, more visual content. Older readers may prefer a more traditional or slower presentation.

If you’re writing for a very generalized audience and are unsure, use the average reading level for the country (around 8th grade). Here is an excellent program you can ‘copypasta’ your work into for analysis. It is also suitable for word counting and frequency— a fantastic SEO writing tool.

Headers

On that note of selecting an audience, there are ways to improve readability. For starters, master the usage of headers. Headers come with tags H1 through H6. H1 is the largest and most important. Use the header tags as you would a filing cabinet.

Here is an example:

H1 Header {the title}

->H2 Header {main section of the article}

—>H3 Header {minor section}

—>H3 Header {minor section}

->H2 Header {main section of the article}

—>H3 Header {minor section}

—>H3 Header {minor section}

Notice how the headers nest within each other in an organized manner. The H1 header contains the H2 and H3 sections—the H2 only the H3. An organized routine like this can greatly improve readability in an article.

Headers are also an opportunity to insert keywords into your article, for the sake of SEO. Search engines rank keywords in headers higher than in paragraphs. Headers summarize and offer hints to what a paragraph contains.

The words in a header should be unique and tailored towards the article’s objectives (which you hopefully outlined enough, before writing). If not, do not worry, it will come with practice and dedication.

Scale, Intro, and Outro Paragraphs

Most articles drift between 500 and 3000 words. Items longer than this some people won’t have the time to read. Instead, they will examine the first and last few paragraphs to get a general synopsis of the article.

Search engines tend to favor articles around the 1500 to 2000 word count. This implies abundance and value. Determine what word density is best for your blogging or company needs. Some writers do better on less.

Limit your paragraphs to three lines or less, if possible. The average attention span is low for readers in our busy modern society. Most readers prefer to get to the juicy tidbits of the article, rather than slog through paragraphs.

Highlight Important Points

It helps to highlight vital pieces in an article. Highlighting with headers, italics, or bold can help skimmers detect the juicy information in your article. Keywords also help, as some readers may use a find tool to locate a specific vocabulary.

This practice provides the reader with more flexibility, as those who are pressed for time can extract crucial parts readily, while others can choose to read the whole document at their leisure.

Catchy title

This should be a no-brainer for most writers. The title should be unique, snagging the reader’s interest, while not long enough to sound daunting. The title should match the information you present, giving the reader a snapshot of what to expect.

Make it a point to remember this point, as people absorb scientific articles differently than subjective ones. A simple blog update versus a lengthy report is like comparing apples and oranges. They will each attract their own unique viewer base.

Lists and bullet points

Readers love organized records, and bullet points should improve SEO.  Lists are easier to comprehend and take less time to digest. Make sure your listings are informative and straightforward. Your readers will appreciate it.

When you construct a list, capitalize only the first letter in a list item. Forgo periods at the end of the sentence, unless the listing is lengthy. Keep it short and sweet. If you find another method that works better, great, keep at it.

Coffee

Last, but not least, be sure to have that cup of coffee ready. I’m joking, of course (well maybe), but you should make whichever adjustments you feel necessary for a working environment.

Some people function better in an organized office, for example. Others find that classical music helps focus—whatever gets you going.

Conclusion

SEO articles are a curious breed of digital beasts. While difficult to understand at first, they can significantly improve the hits an article receives—this is no guarantee, of course. Persistence is important.

Becoming adept at SEO content takes time. Be patient with yourself. Take breaks from writing if you need to (I’ve done all-nighters before so I can relate). SEO articles are still a relatively new phenomenon in our digital age.

Regardless, learning the basics of SEO is essential to any digital writer. I hope this humble blog post has shown the significance of SEO—how to get started. For more information, visit the hyperlinks below.

And don’t forget the coffee. You’ll need it. 😉

Thank you for reading and good luck.

Love and gratitude to my viewers—click that follow button if you want updates. Thanks. 🙂

Additional SEO Writing Sources

SEO Copywriting and Search Engine Optimization

SEO for Dummies

SEO Beginner’s Guide

Secrets to Professional SEO Writing

Additional SEO Software Tools:

BuzzSumo—quick searches on a keyword for relevant social media threads

Moz—another keyword research tool

SEMrush—keyword rankings; fast and easy to use

WordCounter—keyword density, word counting, and more

Grammarly—grammar, readability, and overall sentence structure

 

A quick look at en dashes, em dashes, and hyphens

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Hey, welcome back for another installation in my writing advice articles. 😎

As an amateur writer, I often wondered how dashes and hyphens functioned. At first, I assumed they joined words together. It wasn’t until I delved into the matter that I realized there are multiple variants of these critters, each with a specialized function in writing. Let’s take a look at each in turn.

Hyphens

The function of hyphens is to connect two or more words that are related, usually pairs that work as one word; e.g., two-headed, half-human, semi-conscious, long-term, up-to-date, free-for-all.

The hyphen serves as the glue that welds the pairing vocabulary, forming a compound phrase. This works for nouns, verbs, and adjectives. You can also use hyphens to punctuate character stuttering.

Never use a hyphen in place of an en dash or em dash. We’ll discuss that more below. Be on the lookout for closed or open compounds, as these do not need a hyphen.

Hyphen Examples

Closed: typewriter, skyscraper, notebook, fireman.

Open: lounge chair, living room, real estate.

Quite often a compound modifier is hyphenated if it comes before a noun it modifies, but not after.  The reason is for added clarity on what’s being modified. For example:

Incorrect: Let’s head to that run down church.

Correct: Let’s head to that run-down church.

Other examples for hyphen usage are:

  • With the vocabulary low/highlow-income, high-interest.
  • With fractions: one-third, one-half, one-tenth.
  • With prefixes ex, self, all: ex-wife, self-employed, all-powerful.
  • With numbers: second-century, third-floor, thirty-minute, ninety-four, fifty-one, one hundred and fifty-five.

Mastering hyphens can be tricky. I encourage my readers to check out that Grammarly article I linked above for more examples on when to use this symbol.

En dash

An en dash(–) is longer than a hyphen(-), but shorter than an em dash(—). While simpler than hyphens, en dashes find less use in modern writing.

The function of this critter is to establish a range, whether by numbers, distance, or parties of a spectrum such as in a versus debate or business partnership.

En Dash Examples

  • Number range: 1050 hours, 30006000 days, 15–30 people.
  • Distance range: ChicagoNew York flight, EarthMoon voyage.
  • Opposing parties: ClintonGore debate, RightLeft convention.
  • Partnership: RalphHeath Company, JonesMary Inc.

Em dash

Here’s where the fun starts. An em dash(—) is a versatile symbol. This tool separates phrases and clauses in a sentence. They are similar to commas, parenthesis, and semicolons.

Em dashes symbolize a pause in a thoughtlike I did here—, perhaps informally, while parenthesis is more formal. You could take a regular sentence and insert a pair of em dashes somewhere betwixt as in the sentence above.

Otherwise, for a single break, use only one em dash—to avoid confusion of course. Em dashes can also substitute for colonsor used in a list.

Em Dash Examples

  • An em dash is a break in written thoughtuseful for fixing incomplete sentences.
  • Two em dashes are an insertion for additional information that could be—depending on the writer’s situationexcluded.
  • An em dash can be substituted for a comma, colon, semicolon, parenthesis, bullet point, and much more.

Again, I advise my readers to check out the hyperlinked articles above for more examples. Em dashesat firstseem confusing, but once mastered, the versatility of this tool cannot be underestimated.

Personally, I enjoy using it a lot more than I did a few years ago. That said, using more than two em dashesfor the sake of clarityin a sentence is not recommended. Some people represent em dashes with spaces, others with three hyphens joined. Whatever method you use, be sure to let the reader know.

Thank you for reading, and I hope this article helped with whatever creative projects you harbor. Love and gratitude. 😀


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Editing and revising: concision, precision, and other goodies

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Yay for Snoopy—I mean, hey, welcome back. It’s been a while, but I’ve got another post to share. 😎

This article is a revisit on improving conciseness in prose, or rather, an updated variant of it (I mentioned it briefly in one of my earlier posts).

Concision work typically comes after the initial draft during the editing passes, so don’t worry about it too much when you draft the story.

What is Concision in Prose?

Definition

Conciseness and precision are essential to good prose. Minimizing words used, trading weak vocabulary for a single stronger word, eliminating redundancy; these are but a few of the processes involved with concision.

Why Bother with Concision?

Not only will a manuscript read smoother and faster (your readers will thank you), entire pages may animate in unimaginable ways.

Fortunately, there are a handful of nifty techniques to help. Although the result may not be crispy clean, you can bet a lot of unnecessary and nasty vocabulary are gone.

“A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.” ~The Elements of Style, by Strunk and White

That said, we’re all human beings, so perfection is only an ambition that drives our efforts (and I doubt this article is optimized). Anyway, let’s cover some of those concision techniques.

Techniques

Wordiness

When editing your work, look for ways to shorten a phrase or set of vocabulary. Sometimes you can convert a few words into a single one. Examples of this include, but are not limited to:

  • a number of → many/some
  • at the present time → now/at present
  • despite the fact that → although
  • on a daily basis → daily
  • he was going → he went (passive voice correction)

Notice how a single word or two can substitute for a whole phrase. Passive Voice (which I covered here) always violates the concision of prose, but there are exceptions for this. I encourage you to examine the hyperlink for more information.

Invisible words

Certain words appear ‘invisible’ to the reader’s eye. Words such as ‘said,’ ‘the,’ or ‘and’ are fillers that won’t particularly grab the reader’s attention. Their purpose is to bridge the gap between words that do matter.

Regardless, if used in excess, they can cause friction in the rhythm of prose. Mix up the frequency or remove them entirely.

These tools can hold significance in dialogue when using tags to denote the speaker. Sometimes you can get away with no labels at all for ideal concision.

Descriptors and Pacing

While there are invisible words and prose symbols that serve some purpose, sometimes a writer can use a stronger one to enhance a sentence.

You can trim down excess adverbs and adjectives into shorter, stronger versions. Often this involves a little ingenuity to mold the phrases to the tense of your written piece. Consider these scenarios:

He ran to the store quickly. → He sprinted to the store.

Marle cried loudly. → Marle bawled.

The Kraken roared ferociously. → The Kraken screeched.

He was very tired. → He was exhausted.

The use of a stronger descriptor can better highlight the action or details. Sometimes a writer will ignore this rule to highlight a particular phrase or slow the story’s tempo. It’s up to you to decide how and when to manipulate pace for the reader’s benefit.

Long paragraphs slow the pace of writing and may come off as daunting to a reader (like this one—eep!). While seldom large sections serve a function, overuse forces slower prose tempo and gives writing an unfavorable taste. Action paragraphs need to be quick and to the point. Short sentences add to the jarring sensation of battle, increasing the depth of the reader’s experience.

Descriptive paragraphs are longer, slower, and more robust, similar to how human perception slows when we study or observe. Not surprisingly, scientific papers are often sluggish and detailed.

Redundant words

With concision and precision, a writer can delete an entire word without substitution, thereby strengthening a sentence or phrase. Some words are unnecessary, and you’re better off excluding them. Here are a few to watch out for:

Irregardless, obviously, very, almost, just, essentially, basically, totally, seriously, honestly, and actually.

Naturally, in dialogue, there are exceptions. Reread a sentence a few times and feel out the flavor of the words. Take your time with it and savor every morsel. Writers sometimes use these words in clever ways to better demonstrate a character’s speech habits.

Contractions in dialogue are another easy way to sharpen your manuscript, so don’t feel afraid to use them.

From my experience, contractions rarely appear in narration for a more formal tone. Some characters may purposely speak without contractions for that flair of formality. Again, it’s up to the writer to decide how to present it.

Conclusion

Writing with concision is essential to good prose. It allows for a smoother and more readable script. There are some techniques to help with the process, such as reducing redundant or wordy vocabulary, shortening paragraphs, and using stronger verbs.

Thank you for reading, and I hope this article helped with whatever creative projects you harbor. Love and gratitude. 😀


Want to stay in touch with the blog’s updates and other nifty tidbits? Hit that follow button below. Thanks!

Here’s a bonus: www.wordcounter.net. This website is a nifty piece of software you can use to sharpen your prose. Have fun!

 

Dangling Participles

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Another way to improve one’s prose is to address any dangling participles (DP). This article will define this term and how best to use it in written work, whether in essays or novels. It can be tricky to spot at first, but addressing DP adds clarity to a sentence, providing information that the reader may not have. Let’s begin with a basic definition.

What is a participle?

Participles are challenging to define, but generally speaking, they are a word similar to both an adjective and a verb. Take the phrase polish for example. You can say: it’s time to polish the wardrobe. This uses the vocab as a verb. If you say: the polished wardrobe, then the verb acts as an adjective, describing the wardrobe.

Other examples of participles may attach an -ed or an -ing to the end of the verb to create the past or present participle, respectively. This is the crux of what a participle is. They have other uses too as with verb tenses, but that is beyond the scope of this article.

Participle Phrase

When you have a group of words with a participle in it, it’s called a participle phrase (PP). Consider the following:

Running up the hill, Pepper heard the churning waterfall.

Taking a breather, Tarie considered the canyon that yawned in the distance.

The underlined words are the PP. Notice how they modify the second half of the sentence, using run and take as the base verbs for Pepper and Tarie. Here’s one more example:

Calming herself, Pepper felt the mindful void.

Notice the proximity of the PP to the modified subject: Pepper. The noun doesn’t have to be adjacent, but it helps clarify what the PP modifies.

Dangling participle

DP occurs when the subject modified is unclear, leaving a dangling impression or meaning to the sentence. Here’s an example:

Running up the hill, the waterfall churned noisily for Pepper.

Taking a breather, the canyon yawned in the distance in front of Tarie.

In these examples, it sounds like the waterfall and canyon are modified. The correct identifier doesn’t follow, even if the author thinks it does. Implied modifications are never wise in prose. Always bring the proper noun/subject closer to the PP, like sticking them together with glue. That said, you can call this process glue participles, or glue parts, to help remember. 🙂

Here and here are more examples and exercises.

Exceptions

As with all written work, there are exceptions to this rule. Sometimes an author may desire a DP for the sake of comedy or to highlight a point (most DP read hilariously). Whatever the reason, make sure the audience understands the rationale behind the DP if you choose to include it. Nine times out of ten, DP won’t be the best choice; but you’re the author of your own story or world so you can choose and define how prose should flow in your universe. Mainstream professionals may not agree, but as long as your audience comprehends, it can work. Just food for thought.

Thank you for reading! Leave any feedback or questions in the comments below. Cheers. 🙂

 

Passive voice in written work

The dreaded passive voice (PV) is oft the bane of writers, especially those just starting out. PV has a crude and redundant place in writing, yet there are times when it is okay to use it. This brief article will elaborate on the nature of this litany device and how best to evoke PV to one’s benefit.

What is PV?

PA is when you make the object of an action into a subject in a sentence. The actor isn’t doing the activity, or doesn’t seem like it is; instead, the object (like a road) seems to be doing the work. See below for example:

The man crossed the trail (non-passive). The trail was crossed by the man. (passive).

The dragon destroyed the town (non-passive). The town was being destroyed by the dragon (passive).

Positioning the actor before the action associates the actor with that activity. The second sentence is more vague with the actor at the very end. Look for to be with a past participle, and ask yourself if the phrase describes an activity and who is the actor. Examples of word groups to watch out for: to be, are being, was being, was doing, is being, has been.

In contrast, active voice (AV) bring a crisper, shorter variant of prose. It caters to the reader, bringing more quality over quantity. Ask yourself this: would you prefer ten rotten apples or two ripe ones?

Here and here are more examples of PV and how to address them. Doing so often improves the conciseness of prose as well as readability. There are–of course–exceptions to the rule, and learning when a to be word group works may come with experience, as the below section illustrates.

When to use PV

There are times when PV is fine in prose. When you want to focus on the action instead of the actor, PV is the technique of choice, although it may diminish readability. Other times when PV is okay:

  1. The actor is anonymous
  2. The actor is unimportant
  3. Intended generalization

Character dialogue often uses PV and AV. Ask yourself how a character speaks. If an actor talks strange, but it’s in-character, then it’s okay. Usually–in our everyday lives–we speak with a passive voice. This method takes longer, allowing our minds to enjoy conversation and prepare our next sentence. However, in prose, a reader absorbs words much faster, therefore written PV is harder to digest.

Personal thoughts

I’ve seen PV used mainly in scientific works, like a thesis, research project, or business report. In these situations, it is generally accepted to defer to PV for a longer, more monotone and bureaucratic flair. For fiction, you’re better off staying away from PV if possible, except of course for the situations above.

Still, I’ve seen bestsellers with PV usage, so abusing this litany tool isn’t the worse sin a writer can commit. Lastly, don’t worry about PV for your first or second draft. Fixing prose is for the editing and proofing passes, much later on. Direct all your energy towards that creative muse.

Thank you for reading! I’d love to hear any feedback or questions you have in the comments below. Love and gratitude. 🙂

 

 

 

 

 

 

 

[Guest Post] Spirituality and Magic in Sci-Fi and Fantasy

Gods and magic in SFF. Come on and check out this cool guest post I composed. Cheers. 🙂

Richie Billing

I’m delighted to introduce Ed White, writer of creative and visionary fiction, who’s contributing to the blog this week with an insightful post on a significant subject in SFF: spirituality and religion. Enjoy!


The Gods and Goddesses of myth, legend and fairy tale represent archetypes, real potencies and potentialities deep within the psyche, which, when allowed to flower permit us to be more fully human.

Margot Adler

In the realm of sci-fi/fantasy, gods are a curious breed. They represent something abstract—an idea or avatar beyond the reaches of mortal minds. This disconnect from the divine serves as a source of intrigue for the reader, and a subtle impetus for protagonists as they strive towards what no mortal has ever achieved.

Religion also plays a significant role in real-life. Gods and goddesses exist in every culture and region of the world, and there are hundreds of them. The power of…

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What is a Mary Sue?

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“There’s nothing more boring than a perfect heroine!”

DrosselmeyerPrincess Tutu

 

You’ve likely heard of this term before–I’m sure it’s been written about to death, but here’s my take. A Mary Sue is a female fictional character given a plethora of boons without many (or any) flaws. They come off as flat characters without much potential for growth. A Mary Sue (or Gary Stu for the male counterpart) are often author pets, and the plot or other actors may bend around the needs and wants of a Sue. A figure of this caliber is often unrealistic, as most humans are flawed, and this makes relating to a Sue or Stu difficult.  It is vital in fiction to create a character relatable to your audience. This draws readers in and generates sympathy and a sense of kinship with a fictional hero. Here is an excellent article on Mary Sue traits.

You can garner interest within a character by giving a flaw or two. It could be a personality shortcoming like a short temper or a technical inability to perform an action. Whatever it is, have your characters struggle with it throughout the plot. Give depth to your characters’ flaws and weave it into their evolution. Don’t overburden your characters with defects. Otherwise, they may come off as incompetent actors who can’t move the plot at all.

Here’s a website for testing a character for Mary Sue traits. There are many other types of tests available, but here’s the first I found on a Google search.

While it’s okay if your character has some of these Sue qualities, try to keep the amount moderate. Some authors believe that Mary Sues can have a role in a story. While this can be true for side characters, your main actors should be the most interesting ones; if a Mary Sue serves a purpose for the protagonists or the plot, then it should be fine as long as it’s done correctly.

Here are some ways to add depth to a character:

  1. Play against traditional norms. Give your protagonist a unique quality that sets them apart, but doesn’t raise them up on a pedestal.
  2. Seed secrets within secrets. Utilize thoughts or dreams to evoke intimacy within a reader.
  3. Even if your characters are incompetent, give them agency. Have them act upon the plot and move mountains, figuratively or literally.
  4. Switch narratives. Have multiples main characters each with their own perspective. This adds depth to the plot and its actors. It may even sharpen one of your conflicts.
  5. Have protagonists relate to other characters and build trust gradually. This goes with the above tip, but trust does not happen quickly, sometimes not at all. If you find your protagonist garners a lot of respect and admiration from other actors for little to no reason, you may want to reconsider.

All in all, a Mary Sue can seem subjective to some, but there are hard guidelines to follow that help an author avoid this character pitfall. Be sure to get the opinion of multiple types of readers with different perspectives to ensure your character is as it should be.

Thank you for reading. Love and gratitude to my readers! 🙂

 

Character attributes

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This post may prove nerdier than others, but I feel it is essential to the character creation process.

Character Attributes

As in video games, specifically RPGs or tabletops like D&D, a character in a story has a given set of attributes. These parameters define what the actor is good at, what he or she may fail at, and perhaps unique modifiers that make the protagonist unique from others. This system is an excellent method to help a character jump from the page by giving them atypical handicaps that other individuals in a setting take for granted.

Anyway, back to RPGs. First, define what kind of a character, or class, the actor is. Take your stereotypical warrior: they (usually) have high physical prowess and resilience to trauma. Warriors may not specialize in other fields of ability like magic or stealth, but they have their toolbox of skills to make up for it. Characters like this fit a niche in a company of heroes, whereas others party members address their shortcomings. Having one protagonist do all the work often comes off as lazy and boring. Give your character(s) a challenge that pushes them to their limits.

Leveling Up

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As a character progresses through a story, they level up or gain additional attributes. With games, the hero adds new parameters to their character sheet. In a novel, leveling up is more subtle. The author may demonstrate this as a character acquiring a new artifact/weapon for study, graduating military school, or finishing a spellbook. Regardless of what it is, the development of new experience alters the character’s worldview and the way they handle problems. A rookie fighter may view a few brigands with horror, while a veteran would lean towards courage and confidence. This system of progression enhances characters and leaves a player or reader with a greater sense of appreciation by the end of the story. Typically, characters begin with little to no experience and graduate to seasoned fighters by the end of the plot.

There are exceptions, but player/readers always love to see a no-body rise to greatness. The farmer hero trope is heavily used in fantasy settings, but it still works well. My main OC of Ethereal Seals starts out as a farm girl who trains into a knight by the end of the story, yet she fails at some tasks that others take for granted. There are endless variations to this trope, and putting your own spin on it will only help it stand out.

 

Thanks for reading. Much love and gratitude to my readers! 🙂

 

 

Some thoughts on Spring creativity

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We are in mid to late Spring now, but I thought I’d share a couple thoughts I had about what this season is about.

This time of year brings new flowers and with it new ideas and modalities to life. While some see New Years as a starting point, Spring is also an excellent period to begin fresh or check on how the year has progressed. The days are longer and the weather nicer; this makes for ideal productivity and outdoor activities.

“Springtime is the land awakening. The March winds are the morning yawn.”

– a quote by Lewis Grizzard
That said, I’ve developed a few pointers that have helped with my reading/writing life, even while outdoors enjoying the sun:

  1. Take a small notepad and pencil with you, not a smartphone as that will distract you. When ideas arise (which they will) jot them down on paper for later consideration.
  2. If your book/script is your own, don’t feel afraid to make notations or underlines where you deem appropriate. This too can be a medium to incorporate ideas. Reading while outside is an ideal way to enjoy a book, especially when it engrosses you in a quiet and relaxing environment.
  3. Engross yourself in nature’s splendor. Allow the river to whisper its secrets in your ear.  Ground your fears in the bare rock of the Earth. Hear the beautiful inspiration on the wind. Absorb the sun’s intelligent rays. Be mindful of the present beauty around you and the future will magnify your productivity. A scientific study suggested that four days out in nature without electronics improved overall creativity by 50%.
  4. Practice light to moderate exercise (like a brisk walk) through a park or trail. This practice boosts creativity. Other types of exercise such as yoga also show promising results.

Thanks for reading and I wish you all a happy remainder of Spring. Much love and gratitude to my readers. ❤

 

 

 

How long should a book be?

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You’ve probably read other articles like this before, but here’s my take on it.

Although there is no fixed word amount, there are generally recognized guidelines depending on their genre and audience. Younger audiences have smaller attention spans and therefore cater to short, fast-paced books; adults are more tolerable with long manuscripts. Science fiction and fantasy works tend toward a high word count since the writer develops a fictional world. Historical fiction, Young Adult, Westerners, and Mysteries tend towards a lower end of the spectrum–of course, there are always exceptions.

Keep in mind these are generalized word count brackets.

General Book Types:

  • Flash Fiction: 300 to 1,500 words
  • Short Story: 1,500 to 30,000
  • Novellas: 30,000 to 50,000
  • Novels: 50,000 to 100,000

Fiction Genres:

  • Romance: 40,000 to 100,000 words
  • Mystery/Thriller/Horror: 70,000 to 90,000
  • Horror: 80,000 to 100,000
  • Historical: 90,000 to 100,000
  • Sci-fi/Fanasty: 90,000 to 130,000

Age Groups:

  • Poetry: 5 to 3k
  • Picture Book: 400 to 800
  • Play: 1k to 32k
  • Middle Grade: 25k to 40k
  • Young Adult: 50k to 80k

Ultimately, these listings are a guide, not necessarily a strict rulebook. You can have your long epic fantasy and do well with it. However, for new writers, it is best to start small and work your way up.  Once one’s legacy is built, agents and publishers can reference this track record. This increases the chance it gets published regardless of word count or even prose finesse (if you have enough avid fans who will buy the book, publishers will overlook certain shortcomings, since they know the books will rake in profits regardless).

Another thing to remember is: quantity alone does not a good book makeYou have to earn your manuscript, one word at a time. If a document is 150,000 words long but fills its pages with redundant vocabulary, it won’t read well. Adverbs and excessive prose often slog writing; an attempt by the writer to look professional. As a general rule of thumb, the shorter the word/phrase is, the better. The simpler a manuscript is, the more people can read it, and the more can enjoy it.

Each word in a manuscript should contribute to the book in at least one of the following ways:

  1. Character progression
  2. Plot development
  3. Environmental immersion

There are exceptions, but if you find a word that doesn’t fit one of these criteria, it can usually be removed. You don’t want to be overly descriptive either. Half of the fun comes from the reader’s imagination; give half and let the reader form the rest. This stimulates the reader’s mind, bringing with it a sense of fulfillment. Remember, a book is as much of a journey for the writer as it is for the reader.

Thank you for reading. 🙂