Friday’s Tweets — 03/31/2017

Okay, I’m going to confess. The day almost got completely away from me. One of my former bosses passed away, and I got caught up in looking at his obituary, pricing flowers, and wishing I could hop on a plane back to Utah to be with his family and my old friends.

Then, of course, because I was on the internet, I had to look on ancestry.com to see if any of my ancestors were born in the same part of England as my former boss. They weren’t but I had at least 2 gazillion little green leaves waving at me and wanting attention. Plus, I had to update my former mother-in-law’s information because she also passed away recently.

Eventually, I got the first few generations of family sorted out and managed to drag myself back to work. Here, then, are Friday’s bits of wisdom:

So you don’t find the blank page worrying? See what Roz Morris has to say about The blank page, conquering your fears (and a couple of writing prompts) at Nail Your Novel.

Susan Mae Warren offers tips for writing description in our novels. Check out When Writing Description You Must F.O.C.U.S. on Novel Rocket.

Do you struggle with cliches in your writing. Now Novel discusses What is cliché? Cliché examples (and how to avoid).

Susan Oleksiw talks about Managing the Subplot on her blog–an always interesting endeavor.

You’ll find some thoughts about Chasing Perfection on Plot to Punctuation, about when it’s a good thing and when it’s not.

And on Positive Writer, Bryan Hutchinson has written a piece called How The Most Common Deathbed Regrets Can Improve Your Writing.

My tidbit of wisdom to add? I’m just finishing up a month-long workshop with a writing group on stumbling blocks, so I’ll share a snippet from that:

If a scene is lagging and you can’t figure out why, check the point of view you’re using. To give the reader the most bang for her buck, you should at least consider writing the scene from the viewpoint of the character who has the most at stake emotionally. Writing a scene from the point-of-view of a character with no real stake in the outcome can leave a scene feeling as if it has flat-lined.

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