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Congratulations! You’ve spotted a great short story competition and decided to enter. You’ve had a go at a few short stories in the past and you’ve been wanting to tackle a novel for ages, but the idea was way too daunting so you’ve just shoved that to the bottom of your life’s “To Do” list. A short story is a much better idea, isn’t it? It’s just like writing a novel only shorter. Right?

Not exactly!

It’s been said that it’s not that a short story is long, it’s that it takes a long time to make it short. The idea that a short story is just a mini novel is an idea that will mean certain death to the success of your short story, before you’ve even written the first sentence.

There is an art, and a process to writing a short story, just like there’s an art and a process to writing a novel, a non-fiction book or an essay. Success is a matter of knowing the basic principles, and then applying these to write the best short story you’re capable of.

The question is, do you have the stamina to make your story short?

That question is easily answered by walking step by step through the writing process.

1. Planning

No matter what you are writing, you need to have a plan. Would you attempt to build a house without plans? Or would you set sail on the high seas without a map and compass? Writing stories is exactly the same. Set out without a plan and you will undoubtedly become lost in a forest of your own words.

Some simple questions to ask yourself at this early stage include:

* Who is your main character and what is their predicament?

* What do they want? How can they get out of their predicament?

* Who or what is stopping them getting what they want?

* How can you apply pressure to your character to force them into making tough choices in pursuit of their goal?

* What will your character learn over the course of the story?

Beginning by answering these few questions will help you know who your character is, what they want, and how they are going to go about getting it.

2. Writing

Once you have a plan for your story you are ready to write it. When you are writing, you are just writing. You are not editing and you are not planning, You are writing. This specifically means that you don’t stop to wonder if “this way sounds better than that way”. When you are writing you are capturing the essence of the action in your story. You are writing a draft, not a finished product. At this stage don’t even think about your word limit. Just write the entire story as you have planned it. We’ll take care of the word limit in the editing and rewriting stages.

The writing stage is similar to mining a diamond. When a diamond is mined it is a chunk of rock, with a few glittering pieces to show it is actually a diamond. You don’t mine a beautifully cut and polished diamond from the side of a mountain, do you? No, you have an amazing piece of raw material, which you then take to a jeweler who will cut and polish it to show its beauty to its greatest advantage. In the writing process, the jeweler is the editor.

3. Rewriting

Once you have completed the first draft, the very best thing you can do is walk away. It can be difficult to get any distance from your own work, but it is virtually impossible if you try to plan, write, rewrite and edit your story in one sitting. If possible don’t look at it again for at least another day. This allows your story time to rest and “breathe”, and when you return to it you will see it in a fresh light.

When you are ready, re-read it straight through once without stopping, and without making any changes or marks in the margins. Once you’ve finished the first read, ask yourself one question: did I write the story that I set out to write? If the answer is no, don’t panic. It’s amazing how the real story you are meant to write comes out in the writing. At this stage your main focus is to ensure that the intention of the story equals the result. In other words, the story has to make sense, and must flow from beginning to end, with all questions raised at the beginning being answered by the end. It is quite common to do comprehensive rewrites of the first few scenes, as the story you really wanted to write didn’t surface until after you’d really got cracking. That’s ok. Just go back and rewrite any scenes you need to, to make the story flow from beginning to end.

Some other important questions to ask at this stage are:

* Are there any great leaps in time or place? It is generally best to keep these leaps to a minimum in a short story.

* How many characters do you have? It’s never a great idea to have more than three major characters at the most, and I’ve read great short stories where there is only one. Save the huge cast for your novel.

* Does the story continually move forward? It’s very easy to have two or maybe even three scenes showing the same thing about your character. A scene is a unit of change &ndash if a scene doesn’t move the story forward, it needs to be cut or rewritten.

So rewriting is re-seeing and re-sculpting. The main purpose of this stage of the process is to make sure the story makes sense. There is a logic to story, and if there are any great leaps in time or place, you may need to add some small linking phrases. Once you are happy that the story flows in sequence you are ready to move to the final phase: editing.

4. Editing

You now need to step entirely out of your creative right brain and into your logical and analytical left brain, to refine and polish your story.

Firstly, look at your word count. Are you way over, way under, or pretty close to the mark? Never submit a story that is over the word limit. Respect the requirements of the competition and keep within the word limit.

Now read your story again, this time with your red marker in hand and a critical eye on the page. Some questions you need to ask at this stage are:

* When does the action begin? This is where your story begins. It’s tempting to “set the scene” and “show character” but the reality is, you don’t need to. The story always begins where the action begins. If there is anything that needs to be explained you haven’t written your action properly.

* Is all the action on the “spine” of the story? Edit out any superfluous material. Again, save it for your novel.

* Show don’t tell. This means, don’t tell us about someone, show us their character by putting them into difficult situations and let us discern their character by the choices they make.

* Edit out all explanation. As a general rule, ask yourself, “is it an image?” If it’s not it’s probably explanation and needs to be cut.

* Is there a “solution” to the story? Does the story deliver what it promised?

* Now is the time to ask, “is this the best way to say this?” If not, write it again, and say it better.

You may find yourself rewriting, editing, rewriting, editing over and over. This is completely normal! Most good short story authors do at least 15 drafts of their short stories before they are happy with the result.

So, you’ve made it through the process and you’re ready to send your story off to the competition. Make sure you double space it, that the font size is big enough to read easily and that you’ve put enough postage on the envelope!

And good luck!

Are you a writer with big ideas? Are you always imagining epics, sweeping stories, great tales of human struggle and sacrifice, interlaced with personal stories of love, sadness and triumph? If so, you ought to consider turning your book or story idea into a trilogy.

Why a trilogy? Believe it or not, there are deep psychological reasons that we do things in threes. The holy trinity is the Father, the Son and the Holy Spirit, and the Triple Goddess is Maiden, Mother, Crone, detailing the feminine journey through life. How many times have you heard the phrase “third time lucky”, or given someone “three guesses” or “three chances”? And of course in baseball it’s “three strikes and you’re out!”

You will have no doubt heard of the traditional “three act play”. Almost all big Hollywood screenplays are based on this structure and it’s certainly a tried and true form of storytelling that captures viewers and keeps them going back to the cinema in droves. And the world of fantasy writing is packed with trilogies: The Lord of the Rings, The Chronicles of Thomas Covenant (that’s two trilogies in fact), and any story by Sara Douglass, Robin Hobb, Trudi Canavan or pretty much any fantasy writer in the world today is told across at least one, if not more, trilogies.

Add to that the success of such popular movie franchises as Star Wars, Pirates Of The Carribean and the Bourne movies, and you will see that a well planned and executed trilogy is a one way ticket to success.

So how do you do it? Do you just take an idea and spin it out over three stories? Or do you just come up with a great character and three great premises and you’re home and hosed?

Neither actually!

The success of the trilogy is based on the traditional three act play, where book or movie one is act one, book or movie two is act two, and book or movie three is act three. The only ingredients you need are one great big story running behind three stories compelling enough to carry a movie or book on their own, and you’ve got the basic ingredients you need to succeed.

So if you are the type of writer who thinks big, if your scope is broad and your plots complex and intertwined, and your characters are people on a life’s journey, then trying to squash that all into one book may be too many chocolate chips in the cookie. Giving yourself the room to think, plan and write a larger journey over three books will make each one a better book in its own right, and if you do get it right, you’ve got a guaranteed audience for books two and three. And publishers love that!

The most important element to grasp as you embark on the trilogy adventure is that you are dealing with a multilayered project. Unlike the acts of a play, the individual stories in a trilogy need to stand up on their own, in addition to playing a part in a larger drama.

So let’s take a look at how you can go about turning your dreams of epic tales into the reality of a trilogy.

How To Build Your Trilogy

1. Decide on your over-arcing or larger story.

This is definitely the most important first step by far. Without it you don’t have any story, let alone a trilogy.

Some examples of great larger stories are:

a) a leper passes out on the floor of his lounge room and wakes to find himself in a strange land. There, instead of being treated as an outcast, he is considered a savior and the question is asked, will Thomas Covenant accept his destiny and save The Land? The larger story: will Lord Foul prevail or will Covenant save The Land?

b) a farm boy dreams of becoming a fighter pilot. He meets a Jedi Knight and trains in the ancient art. The question is asked, will Luke Skywalker become a Jedi, save the Rebels and bring freedom to the Galaxy, or will he turn to the Dark Side like his father? The larger story: who will prevail, light or dark, good or evil, The Rebels or The Empire?

c) a man is found floating off the coast of Marseilles. He has no idea who he is. As he attempts to find out, will he learn his true identity, or will Jason Bourne wish he’d never asked? The larger story: it is one man against the world, as Jason Bourne challenges the might of the CIA, and who will prevail?

These are just a few examples of the initial questions asked, the initial journeys laid out before the heroes and the ultimate possibilities open to the creator of a great trilogy. Nail your larger story, and backdrop it against anything from war to a love story and you’ll have a great basis to work from.

2. Each book in the trilogy is roughly the equivalent to an act in a screenplay.

In the three act play, Act One is “The Set Up” or “Decision To Act”, Act Two is “The Confrontation” or “The Action” and Act Three is “The Resolution” or “The Result Of The Action”.

When you are planning out your larger story (which you will do first) this breakdown will help you form the basis of each of the books in your trilogy. In Book One, you will cover the elements of the larger story that take that story through the set up phase and onto the threshold of another world, or some different action. Book Two will follow with the result of what was decided in Book One, as the story moves forward through the crisis/ordeal/midpoint and traditionally ends on a dark note. This leaves Book Three open to rescue the heroes from the jaws of defeat as the larger story reaches its climax and all the initial questions are answered. Planning this out in the earliest stages will give you very strong guidelines as to where to go with each individual book’s plot, structure and characters.

3. Each book must stand alone as a complete story in itself.

This is where you need to be very aware of the layered aspect of this process. You have a larger story you are telling in the style of the three act play. Now you need to plan, structure and write three stores within that structure that fulfill all the criteria of successful books in their own right. So take “The Set Up” phase and construct a story showing how you would set up your larger story. It’s very common here to have a reluctant hero, who hears the call to adventure and refuses. Thomas Covenant is a good example of this. Thus the entire first book can be the process of the hero trying to escape the call. In a different scenario, you may have a willing hero, like Luke Skywalker or Frodo for instance and the first book may be a complete hero’s journey in itself, showing how the hero is embracing the quest or task, but still leaves the greater part of the task to be completed.

Possibly the most important thing to remember is to hold information or events back as long as you can. It’s tempting when you’re writing a trilogy to put too much in up front, but doing that is a mistake. Give your readers some credit for intelligence and imagination, and don’t tell them everything up front. Trilogies are a great tool for holding back secrets and springing surprises on your readers to keep them guessing. Good examples of this are Darth Vader revealing he is Luke’s father at the end of the second episode in that trilogy, the interesting faux “love story” between Elizabeth and Captain Jack Sparrow in the Pirates of the Carribean and the scene at the end of the second Bourne film which is repeated right near the climax of the third film. You are in a great position to lead your readers wherever you want them to go so use it!

4. Your characters must have “legs”.

There is nothing worse than flat, lifeless characters and there is definitely nothing worse than trying to hold our attention with these flat and lifeless characters for three whole books. Make sure you do your homework on your characters just as you would with any other book you write. Put their flaws and universal needs right there up front for us to see, you still need to grab your reader’s attention from page 1. Don’t fall into the trap of thinking that because you have three books you have more time and space to develop your story and characters. Wrong! If anything you are under more pressure to hook us straight away, because we’re not going to keep reading if we’re not interested, as we know that the story doesn’t actually finish until the end of the third book.

5. Your “golden thread” must run throughout all the three books.

This is where the intricate weaving of story on story and the skill of balancing the separate elements becomes critical. Your golden thread could be a war, a family saga over generations, a love story or a ring quest, but regardless of what it is, remember that THIS IS THE STORY YOU ARE ULTIMATELY TELLING. Star Wars is ultimately about the battle between the Rebels and the Empire, the Bourne movies are the story of one man against the CIA, the Chronicles of Thomas Covenant are about a leper who becomes a savior in a different world, and The Lord Of The Rings is the war of Middle-Earth. While there are countless subplots, character journeys, love stories and red herrings in all these tales, they all still have their own individual “golden threads” and ultimately the telling of the story is to serve this golden thread.

If you are prone to larger ideas, give this system a go. It may be just the breakthrough you need to get yourself on the publisher’s lists.

Most people think writing a novel is just writing. I have lost count of the number of people who say “I want to write a novel” and think that they will just sit down, put pen to paper or fingers to keyboard, and the whole thing will just unfold before them. I’ve read a few novels, they think, why can’t I write one?

If only it were that easy!

The process of writing any story is exactly that, a process. And whether you are tackling a novel, a short story, an essay or a non-fiction book, you need to begin by planning your story.

This is the most ignored stage in the writing process, and yet it is by far the most important. JK Rowling spent five years planning the Harry Potter novels. And that certainly paid off, didn’t it?

The key to writing any story well, is to find the story that only you can write. This story carries your own emotional truth, and as you progress through the story writing process, your character will take you on the journey of emotional growth just as they will your readers once it’s published.

The Deeper Character Journey

The deeper character journey is the most important aspect of any story. It is what your readers will remember and it is what makes the process of writing a story so worthwhile for the writer. Every time you take your character on a journey, you go on that journey yourself.

So how do we find that deeper character journey? Where do we begin?

We begin with this simple exercise:

Without thinking too much about it, finish this sentence:

• I am interested in writing a story where the main character discovers the importance of ………………

Write for 5 minutes, preferably in long hand, allowing whatever comes up to just flow onto the page.

When you have finished you will find that you have written a lot of different values into your answer. Values are universal qualities of human experience, either positive or negative. Take a few moments to divide these values into their positive and negative groups. You’ll find that a few similar ones in each group will stand out, so isolate these and then decide on the most important ones from each group.

Once you have done this you can now write your deeper character journey in one simple sentence.

• I am interested in writing a story about a character who goes from being….. to being…..

What is your character’s weakness?

Every character has a weakness &ndash something they need to learn to have a better life. Your character’s weakness should now be pretty clear to you, as it is strongly connected to what they need to learn the importance of from the above exercise. With your character’s weakness in place, you can now begin to put them and their weakness under pressure and suddenly your story is off and running.

Predicament

Stephen King says he starts a story with a character in a predicament and watches them to see how they get out of it. So at the start of your story your main character must be in some sort of predicament or stuck in some way. The predicament your main character is in should be a symptom of their weakness. They are aware of their predicament, but they are not aware of their weakness.

For example, a character who needs to learn the importance of patience, is stuck underground on a broken down train. He becomes more and more exasperated and angry as the minutes tick by as he needs to be at an important meeting. As he’s underground his mobile phone has no signal, and he also can’t just jump off the train, as the doors are electronically sealed, and besides he’s underground so he can’t just wander off up the tracks in the dark.

So we know our character’s predicament will expose his weakness, which is impatience. The question for you to answer is, what does he do? How does he respond? What choice does he make? And he will make that choice based on his personal values.

Values in Conflict

Conflict lies at the heart of all powerful stories. It is a well worn adage in story writing that nothing moves forward in a story except through conflict.

But a good story also isn’t just a sequence of random conflicts, things that happen with no apparent pattern or meaning. It is a series of events, putting your character(s) under more and more pressure, forcing them to respond. This then shows us their true character.

Values underlie our choices, our decisions, and in storytelling they drive the story through the characters being forced to make difficult decisions where their values are challenged. A value is a belief system based on what is important to the individual. A value represents something in your character’s life that they are willing to fight for. So if you have a married woman who is attracted to another man, her choice of whether to go with the other man or stay with her husband will be based on the values of romance versus fidelity or loyalty.

Once you have nailed the values underlying your character’s choices, you will have connected strongly with your character’s deeper journey. This in turn connects you to your readers, who will recognise similar conflicts in their own lives.

And you also have the essence of the story that only you can write.

It’s been said that you should “write about what you know”. It’s also been said that doing that condemns you to a life of boredom as you’ll never grow beyond your current limitations.

Not very helpful, is it?

It’s also been said that you should write about what you’re passionate about, interested in or otherwise taken by, as you’ll spend so much time researching it, writing it and rewriting it, that it had better light your fire, or it will drive you insane. And then again, others say don’t tackle a topic you know nothing about, you should write what you know….

And so we go around in ever decreasing circles.

I actually subscribe to the “write what you know” line of thought, but with a bit of a twist. I encourage writers to write about what they know on an emotional level.

Try writing a story that heals YOU. Emotions are the universal language. We all feel the same feelings, we may just experience them in different ways. We all recognize joy, love, peace, anger, resentment, jealousy and fear and when you tap into this universal language with your stories, you speak to the hearts of all readers. As you and your characters go on the roller coaster ride, your readers will go with you, and as you and your characters heal, so too will your readers see a way out for themselves.

Have you ever read a novel that’s changed your way of looking at the world? I certainly have. Try this simple tip, and you’ll soon be writing stories that change lives as well, including your own.

Write about something that will change your life.

Now by this I don’t mean sitting back and thinking, “What would change my life? I know! Divorcing my wife/leaving my job/selling my business and trekking across Africa/buying a ski lodge in Switzerland/running for President”. That’s not the type of change I’m talking about.

I’m talking about real change - the type of change that starts on the inside and works its way out. And while it may eventually manifest in divorce, resignation, liquidation, traveling, new businesses or political aspirations, it is not the way the change looks on the outside that matters as much as how it looks on the inside. And once you get the inside right, the outside takes care of itself.

As writers of fiction we are constantly living inside our own imaginations, aren’t we? True creativity occurs when experience meets imagination. The best way to write stories that resonate with others, that capture them from the first page and don’t let them go until the last, is for you, as the writer, to delve into your own basement of emotional experience and retrieve images of universal resonance to deliver to your readers.

JK Rowling said that the Dementors were definitely born of her own depression. The mirror of Erised was her own desperate desire to spend just five more minutes with her own mother, who passed away as she wrote Harry Potter and the Philosopher’s Stone. Harry’s search for a family of his own was paralleled by Jo Rowling’s desire for the very same thing in her own life.

You need courage to be a fiction writer. Courage to expose your own wounds, courage to go to the places you haven’t been before to heal them, and courage to decide you have the strength to go on the journey in the first place.

We have all had our ups and downs in life. And saved somewhere in our unconscious databases, are all the emotions, all the traumas, all the joys and all the images of our lives. As you access these buried emotions, a curious thing will happen. You won’t necessarily relive the actual events that happened to you. By drawing on the emotion, and allowing it to be your guide, your imagination will fill in the missing bits, and you’ll find yourself retrieving images, scenes and situations that may be very different to your own actual experience. Writing a memoir or autobiography is not the goal. Writing a story with emotional resonance that others will want to read is.

Try this simple exercise: Sit with your feet flat on the floor, hands resting on your thighs, your eyes closed. Take 3 to 5 deep breaths. Now in your mind’s eye, see a spotlight shining on a brightly lit stage. Step into the spotlight. Take a few seconds to grow accustomed to the shift in perspective. Now I want you to feel real anger. Feel the heat of it coursing through your body. How dare they? What right do they have? Ask yourself these questions over and over in your mind until you have worked yourself up into a white heat of fury. Now in your mind’s eye, allow an image to form around you, the source of your anger. What’s happening? Who is there? What can you hear? Coming up with a first sentence, write for 10 minutes on what happens next.

When you’ve completed this exercise, take a break, or come back tomorrow and try this next exercise. Following exactly the same process, feel forgiveness instead of anger. Allow the sense of true forgiveness to envelope you. Then when you are ready, allow an image to rise in your mind’s eye, and coming up with a first sentence, write for 10 minutes.

Did these two pieces of writing connect at all? Did the forgiveness relate to the anger, or vice versa? Don’t worry if they didn’t. Just know that as you utilize this process when writing a story, you will write a progressive story of great emotional resonance, and in so doing, you will be unconsciously training yourself to experience this journey in your own life.

This is a simple exercise to show you the power of accessing your unconscious through emotion. Once you become accustomed to using this method, you will find all kinds of magical thing occurring to your writing, and all kinds of wonderful healing occurring in your own life.

Writers of non-fiction are bound to an extent by the limitations of science and provable fact. They can speculate, philosophize and hypothesize, but until someone can come up with “proof in a test tube”, it is essentially speculation.

When you write a story, with a character confronting their issues, overcoming their obstacles, facing their demons and changing their lives, you are unconsciously writing a guidebook that shows others how to make those changes too. Fiction writers offer real solutions. Real emotional solutions. We may not show you how to fly to the moon, or how to crack the property market and walk off with millions, or how to build a successful e-commerce business from home, but we can show you how to really live your life, how to relate to others, how to relate to yourself, how to heal relationships and how to lead more blissful lives.

And that’s pretty terrific, don’t you think?

When you are a writer, you cannot separate your writing from your life. Writers cannot not write, so writing for you is like breathing. It is so natural you don’t even think about it. I think it’s a shame that so many writers treat their writing as anything from “special time” to the last thing on their to-do list. Writing is life. And so the principles of life, or the truth about life, are also the principles of, or the truth about, the writing life.

I recently re-read a favorite spiritual book, and in it I found a quote from the author’s high school drama teacher. This drama teacher must have been a wise man because he always taught his drama students the following:

The Truth About Life

1. Leave your personal problems at the stage door.

2. Treat the material with honesty, dignity and without embellishment.

3. Show up fully no matter how many people are in the audience.

I was suddenly struck with a simple thought: The Truth About Life is exactly the same as The Truth About The Writing Life, and so many of us forget these simple truths, as often in our everyday lives as we do in our writing lives.

So as a reminder, for all the writers out there, here is my version of The Truth About (The Writing) Life

1. Leave your personal problems at the stage door.

When you are writing, IT’S NOT ABOUT YOU! What? Not about me? Well then who is it about?? It’s about your view of the world, your take on things, how the world appears through your own unique lens, and yes, you need to write from your own emotional experience, or at the very least you need to write about something you care about. But that’s where it ends. While you are writing from a place within yourself, or you’re channeling something from the depths of your unconscious, you are still doing it with one very important proviso. You are disengaging your ego, and writing from some deep inner truth, or emotional place. Get out of your ego and into the soul or spirit of your characters. You are a writer. You are there to serve the story. It’s not there to serve you.

A great idea is to have an imaginary hat stand, coat rack or even a cardboard box outside the door of the room where you write. Every time you enter the room to do some writing, mentally drop all your baggage, problems, ego issues and any other personal issues into the box or hang them on the racks and walk into the room unencumbered. Then, while you are writing, imagine that someone or something comes and whisks all your baggage, problems and issues away, so that when you’re finished, the doorstep is empty.

2. Treat the material with honesty, dignity and without embellishment.

I firmly believe that when you are writing, you are co-creating with a force larger than yourself. Whether you call that force God, the Universe, the collective unconscious, the spirit of your dearly departed grandmother, Allah or simply your Higher Self, when you truly enter the creative imagination you are only one element in many that go into making up the totality of your story. So when the material comes through (when you write it) you do need to treat it with honesty, dignity and without embellishment. Let it flow through you honestly. Don’t try and change it as it flows. Just let it flow, get it down on the page, and if there are changes that need to be made, address them in the rewriting and editing processes. Dignify the material with your time and your skills, and for goodness sake, don’t embellish. There is nothing worse than a wonderful story and good writing being asphyxiated by attempts at literary high-mindedness. If the character gets hit in the head, tell us he gets hit in the head. Don’t tell us that a large object projected itself into his cranium. Be blunt and use simple language. You will find the greatest writers do that. At the risk of sounding like another American self-help guru, you’re best served to “tell it like it is”. Thanks Dr Phil!

Go back over some of your own writing and see where you may have been guilty of embellishment. The beauty and complexities of great novels come from the story, the narrative, the rich drawing of characters and their relationships to each other, not from using lots of big words.

3. Show up fully no matter how many people are in the audience.

Write for the sheer joy of it, the pleasure, the beauty, peace and satisfaction it stirs in you. Write because you have to, because you can’t not write. Write because there’s a story that’s bursting to get out of you. Don’t write to please editors, publishers, readers, your mother, teacher or partner. Write for the sense of abundance it brings into your life. Turn up at the blank page or screen and write just for the heck of it. It doesn’t matter whether you’re the only one who’ll read your words or whether you have a print run of 1,000,000 books ready to roll when you finish your manuscript. What matters is that you show up fully at the page, every day. Because writing in and of itself, is all that matters, isn’t it?

So next time you’re sitting at your page thinking “what am I doing here?” have a look at these 3 simple Truths About (The Writing) Life and remember how simple it really is. You write because you can’t not write. So leave your personal problems at the door, treat the material with honesty, dignity and without embellishment and show up fully at the page, no matter how many people are in the audience.

And watch your writing improve.

Writers live a solitary life. That’s a fact. You spend hours planning, writing, rewriting and editing your masterpieces, only to have them rejected by every agent or publisher you have the courage to show them to.

So wouldn’t it be fabulous to have an on-call writing mentor, a wise and experienced coach to guide you through your writer’s journey?

Well, you have! Here, captured in the timeless wisdom of one of the greatest mentors in storytelling history, the great Jedi Master, Yoda, are 10 simple tips guaranteed to transform you into a Jedi Knight of the Write!

“You must unlearn what you have learned.”

When commencing anything new, you need to arrive at the front door with an open mind and your judgment suspended. Most importantly, leave any old training and ingrained ideas about the topic you are learning, well and truly outside that door. Writing is absolutely no exception to this rule. I have found it much easier to teach complete novices, and those with open minds, than trained journalists or graduates of writing courses, especially when it comes to the basics of freeing the imagination for fiction. For those of you who think you need to write it perfectly the first time &ndash unlearn that! For those of you who think you write with the logical, left side of your brain &ndash unlearn that! For those of you who think that only a gifted few can write well &ndash unlearn that! And for those of you who think you can only write when touched by the muses &ndash unlearn that! If you can think and speak, then you can write. Period. No other prerequisites required.

“(What’s in there?) Only what you take with you.”

The world of fiction is the world of your experiences mixed with your imagination. As you venture into this world to retrieve the images, feelings, impressions and ideas in the way that is truly unique to you, you do indeed learn that the only things you can encounter there are the things that you take in with you. No one else on the planet, or in history for that matter, is where you are now, has been through what you’ve been through or has your own unique view of the world. Honour these views and experiences. Allow them to flow freely through your pen or fingers. It is only when you write truly that others will relate to your words. Readers can spot a fake a mile away.

“Try not, do or do not, there is no try.”

This may come as a surprise but you must never try to write well, or you will never write well. Don’t try, just do. In other words, capture first thoughts, keep the pen moving, let yourself write complete garbage. Just do it. Just write. It is only by sitting down every day and writing that one becomes a writer.

“A Jedi’s strength flows from the Force.”

Substitute the “Force” with the “Unconscious” or the “Imagination”, and you’ll have a better idea of what this Yoda-ism means. As a writer, your strength flows from your own unconscious, as this is where all your collective experiences, impressions and memories are buried, just waiting to be exhumed as challenges for your characters. The ability to exercise these creative muscles, keeping them strong and toned, is the fuel that will power your stories.

“There is no why.”

One of the greatest leaps you can make in your writing, and indeed in your life, is the ability to stop asking why! Do not seek the reason for anything you write. Do not seek the reason behind the images you see, the voices you hear, the impressions you get, the dialogue you write. It just is. And it is, because it’s you, and only you, who can write that at this time. As soon as you stop to ask why, you drop into an analytical frame of mind, and genius is lost. Creativity is stifled. Imagination cannot function. Let the critics ask why. That’s their job. Your only answer to the question of why? need be “because it was there.”

“You must complete the training.”

When it comes to writing, or any other art form, talent or genius actually count for very little. Writing is a craft, and like any other craft, the writer needs to work at it constantly, honing his skills and refining his technique. Study your craft, learn from many teachers, add to your skill set, it will make you a much better writer. And it was Michael Jordan who said, “the harder I trained, the luckier I became”. Keep studying. Always be in training. As a writer you are like an athlete. Footballer players don’t hang out at home all week, or spend their days surfing or playing golf. They train, they practice, they work out at the gym, and it is this that gives them the strength, skill and finesse to win games on the field. You are no different.

“Only different in your mind.”

Life is lived in the human mind. The advances in quantum physics have proven that the universe arose from thought, and that we can influence anything in our lives simply by the thought we put to it. The same goes for your writing. If you think you can, or you think you can’t, you’re right. If you think you can sell more books that JK Rowling, then you’ve got a much greater chance than someone who thinks they can’t. Anything is achievable for you as a writer, as long as you put the thought to it that you can and will succeed.

“Control. You must learn control.”

One of the most frustrating elements of being a writer is finding the time to write. If you hold down a full time job, run a business, or have a family to care for and an active social life, it can be tempting to say “I’ll write that novel next year/when the kids are grown/when I retire” etc. This is where self control is imperative to the success of your creative endeavours. You only need to write one scene a day, which can take as little as 20 minutes, and in a year you will have 365 scenes, which will be the best part of the first draft of a novel. Don’t wait. Learn to control your inner voice that says, “You can’t do it”, or “Don’t be so selfish”, or “The bathroom is dirty, go clean it”. Sit down and write every day. It’s the greatest gift you can give yourself.

“Nothing more will I teach you today.”

Take your writing lessons, and your writing sessions, in bite-sized pieces. When you are learning new writing techniques, take the lessons at a pace that keeps you stimulated, but not overwhelmed. Taking on too many new ideas or concepts at once can tend to muddy the creative and productive waters. It is best to learn a new technique, then practice it and integrate it before moving onto the next one.

“Pass on what you have learned.”

As you travel the writing path, take the time to teach others that which you have learned. Even if it’s only a simple word of encouragement or a tip that helped you when you were just starting out, keeping the flow of information alive is the greatest gift you can give to others. Pass on what you have learned.

So, as you can see, anytime you need him, Yoda will be there to help you through. And remember, the only failure is stopping, so keep on writing!

Harry Potter. The name brings instant recognition from people all over the world. The books have sold over 350 million copies worldwide. Only the bible has more translations. The movies have gone on to grace the lists of the Top 10 grossing films of all time.

When Harry Potter and the Philosopher’s Stone was published in 1997, Joanne Kathleen Rowling was a previously unpublished author. She had no publishing credits, no insider knowledge, no friends in the industry.

So how did she do it? How did she go on, in the space of ten short years, to become the first billionaire author on the planet?

The answer to that question lies not in what she did in those ten years between the publication of the first book and the publication of the seventh, Harry Potter and the Deathly Hallows.

The answer actually lies in what she did in the seven years prior to the first book’s publication.

So if you’re an author who is yet to be published, you’re actually in the best possible position. Because it’s in this time, before your book hits the shelves, that you can have the greatest influence on its success.

Quite simply, JK Rowling followed a four-step writing process that you too can adopt to write your very own list of bestsellers. The question is: do you have what it takes to be the next JK Rowling?

Planning

This is by far the most underrated of the steps in the writing process. And in the final wash up it is absolutely the most important.

It was 1990 and Jo Rowling was on a train between Manchester and London. Harry literally strolled fully formed into her mind while she was gazing out the train window at a field full of cows. She spent the next four hours (the train was delayed) imagining Harry, the world he inhabited, the friends and enemies he had there and the dangers and joys he may encounter there. She had nothing to write on so had to be content to play this all out in her imagination. By the time she got off the train in London, the central cast of characters were already cemented in her mind.

But did she go home and immediately begin scribbling a story with these characters? No, she didn’t. She spent five years, yes that’s right FIVE YEARS creating and developing every last detail of the wizarding world, including government and education systems, how the wizarding world stood shoulder to shoulder with the muggle world, and she devised a highly sophisticated system of magic that would eventually form the backbone of her own special brand of writing magic. On top of this she sculpted out the entire story, planning the details and events of all the seven books, before she put pen to paper to begin writing the first.

Would you attempt to build a house without plans? Would you attempt to drive across the country without a map? Or would you set sail on the seas without a compass? Writing a book without a detailed planning stage is like attempting to build a house without plans. Miss this step and you are almost certainly destined to become lost in a forest of your own words.

Writing

When you are writing, you are just writing. You are not planning, you are not editing. You are writing. Once you have planned your story, it is time to sit down and write it.

JK Rowling planned the Harry Potter series for five years before she put pen to paper on the first book She wrote the entire first book, and felt as though she were “carving it out of this mass of notes”. All the planning was worth it. She was able to devote herself to the actual task of writing, knowing that all the story and character elements she needed were covered.

This is the best possible place for you to be in when you are writing a novel. Novels are long. Usually over 100,000 words and sometimes as many as 200,000 words and more. That is a lot of words! So if you have planned and structured your story effectively, done your research (either real or in your imagination) and collated your notes, then the writing process is an absolute joy, where you can be very certain of your ability to produce the best possible novel.

Jo Rowling said she felt she “had to do right by the book”. She really believed in the story and so when it came to writing it, she made sure she had taken care of all the necessary preparation. Once that’s done, writing is almost easy!

Rewriting

Jo Rowling rewrote the opening chapter of Harry Potter and the Philosopher’s Stone a total of 15 times. Her own mother died just 6 months after her first attempt at Chapter One of that book, and that sent her into a frenzy of rewriting, essentially changing everything. The Potter books are about death, there is no doubt about that, and they are driven particularly by the death of Harry’s parents and his miraculous survival. When Jo Rowling experienced such a major turning point in her own life, she rewrote the story to reflect and process her own pain.

Writing and rewriting are separate processes. Writing is scribing or sculpting out the drafts of the story. Rewriting is re-looking and re-seeing. Often the rewrite will show up where the story has gone off track and where questions asked at the start haven’t been answered by the end. In JK Rowling’s case, she realised after writing the entire first book that she had given away the entire plot of the seven books. She rewrote it in this light, and held many things back.

Many successful authors say that you only write to rewrite. DH Lawrence even said that he wrote his entire first draft, threw it away and then started again from scratch.

Editing

Editing is the process of refining and polishing your manuscript. This part of the process may be done by you, or by an external editor. It is often wise to have an editor look over your work before submitting it for publication as it is extremely difficult to get the distance you need from your own work to see where it can be improved.

Not that you have to listen to what the editor says. In the end it is your name on the spine of that novel and you are entirely answerable for its contents. Having said that, a good and subtle editor can lift your novel to heights that you may not be able to achieve on your own.

It is clear from the Harry Potter series that JK Rowling was more tightly edited at the beginning (the first two novels are barely more than 200 pages and by the time we get to number five, Harry Potter and the Order of the Phoenix, we are faced with a weighty tome of over 700 pages) so it is generally advisable at the beginning of your career to bear the advice of your editor heavily in mind, especially if you are new to publishing. In every event, less is more, and a distilled and focussed book is more likely to captivate and intrigue a new audience than a meandering epic that constantly loses its way.

Writing a book is a process, never forget that. Each step in the process is unique but necessary. Don’t mix them, and certainly don’t attempt to skip any steps. Do that at your own peril.

JK Rowling has shown the world what is possible if you adhere to the basic processes of the art and craft of writing a good story. So before you attempt your next novel, address the four steps in the writing process: planning, writing, rewriting and editing, and be sure you give each step its due.

And who knows? You could be the next JK Rowling.