In which Robynne and Jane continuing their conversation on how to really tighten your writing until it’s strong, powerful, and compelling. When last we left the Dynamic Duo, they had already given a great set of tips. But, you know what? There is so much more! Did you know that the phrase “try and” is incorrect? (Should be “try to.”) And did you know that we all tend to overuse some words? For Robynne, the words “lovely” and “rubbish” way too much. Jane admits a slight addiction to “just.” These girls have issues. What to do? Put those words on a list to check before you send a manuscript out. If you see 43 “lovelies” in your first few chapters, maybe you ought to find a way to eliminate one or two.

Also, check for other phrases that are misused. It’s best to not use clichés at all in tight writing, but if you must, at least make sure they’re correct! Like, “it’s a doggie dog world,” when it should be “it’s a dog eat dog world.” Robynne outs her high school self with “for all intensive purposes,” which should have been “for all intents and purposes.” Robynne gives a bonus tip on how to figure out when to use “I” or “me” in a sentence. It’s worth a listen for that tip alone. But, of course, there are a lot more tips on how to make your writing the tightest it can be. Don’t believe me? Listen in!

In which Robynne and Jane talk about how to make your writing as tight, clean, focused and powerful as possible. Jane admits that she writes pretty minimalistic out of the gate, but even then, can benefit from an intentional attempt to write with efficiency and power. Robynne, on the other hand, loves words and often needs to rein a few of them in to make sure they’re serving the story or the point.

Which leads us to the first (almost self-explanatory) tip: Know what you’re writing about. If you don’t have a concept, theme, purpose, or reason for your writing in mind, you’ll wander. Being clear about why you’re introducing a character or writing a scene or developing a nonfiction chapter, etc., will not only be more efficient for you, it will make your writing much more clear and effective. And when you go to edit, you’ll be able to clearly see which writing isn’t doing the necessary “work” is should and needs modifying or cutting.

Jane chimes in with the example of songwriters and how they must tell a story and take the reader on an emotional journey in just a few words. Robynne then gives a great tip to set your parameters before your start. And then, boy, here’s one: Eliminate unnecessary or redundant words and trite, overused phrase. Robynne gives several examples: “Personally, I believe that war is wrong.” (should be “War is wrong.”) and “Suffice to say …” (omit!). There’s a particularly wonderful tip that involves post-it notes, and a whole lot more. Tune in to find out.

In which Jane and Robynne answer the burning question most writers ask at some point: do I need an agent? It’s actually not as simple as you think to make this decision, and it’s even less simple to choose the RIGHT agent. Both Jane and Robynne tell the stories of how they found and were signed by their agents. (Spoiler alert: the key to it all is relationship!) And then they dive into the pros and cons of having an agent, how to find the right one for you, and what the heck an agent even does. (Spoiler alert #2: it’s a whole darn lot!)

Agents are pivotal in helping you hone and develop projects, navigate legal documents and royalty statements, and connecting you with influencers and endorsers in your field. Then they lobby for you with publishers, help with marketing, leverage their own connections on your behalf, and are generally your biggest encourager.

It’s important to note that they’re there to help you make the best business, writing, and contract decisions possible. This means they aren’t just there to be a cheerleader. They want you to be successful, which means they will be honest with you. As painful as this might be, it’s actually in your best interest. And sometimes, in some situations, you don’t need an agent at all. Want to know why? Listen in …

In which Robynne and Jane talk, funnily enough, about some of the common mistakes writers make, especially new(ish) ones. Although most of what they talk about applies to all writers, they go a little deeper with Christian writers with the first mistake: believing that a call to writing means that you’re going to be rich and famous. Yeah, that’s not a given, and Robynne deftly explains why … and why focusing on those possible outcomes might mean you’ll miss the biggest benefits of the writing journey.

Another mistake is thinking this whole writing thing is a quick process. It’s so not. So, so not. But that doesn’t mean it’s not worth doing. Slow can be good. Promise. Another common mistake is leaving all the less appealing parts of writing until last (building platform, anyone?). If you’re the kind of person who ate your favorite bits on your plate first as a child, then pushes the rest around gloomily until your mom made you eat the now-cold Brussel sprouts, this one is for you. Want to know the last one? Well, you’ll just have to listen.

In which Jane ushers us into the inner sanctum of craft. First, she tests Robynne about the five senses needed in our rich fiction and creative/narrative nonfiction. Thankfully, Robynne remembered all five (note the non-hesitation when she rattled them off): touch, sight, smell, hearing, taste.

Once those senses were firmly in our little brains, she pulled out the big craft guns: S.E.T.T.

What’s S.E.T.T., you ask? Jane unwraps it beautifully:

* Senses (including all five of them is crucial to giving your reader an immersive experience)

* Emotion (if your scene has no emotion, it’s flat)

* Tension (if there is no tension in your scene, it will also be flat)

* Twist (what unusual detail can you add to shake the scene up a bit?)

Along the way, we talk about the value of The Emotion Thesaurus, and why neither Jane nor Robynne will read or watch scary, tension-filled stuff. Intrigued? Good!

In which Robynne and Jane become super jocular (they clearly crack themselves up) as they turn one of the most asked questions in writing (How can I get published??) on its head. Here, the dynamic duo opts to unpack the four top ways NOT to get published. Robynne also drops a truth bomb about intelligence, but that’s just a bonus for you. As are Jane’s exemplary acting skills. But I digress.

In this episode, all important points are covered … submission guidelines, how much to send in a submission, deadlines and dates, and how and when to follow up. Follow these tips to the letter and you’re pretty much guaranteed NOT to get published. Of course, wedged in between all this tongue-in-cheek banter are some hard, cold truths: there are some important industry expectations, guidelines, and plain, old etiquette. If you follow them, you will, at the least, avoid being immediately tossed in the circular file. And getting your properly formatted, properly submitted, submission-appropriate work seen dramatically increases your chances of getting published. You’re welcome.

In which Jane dives into one of her very favorite topics: The benefits of keeping a journal. Why keep a journal? There are so many reasons … to evaluate and examine big events … to process huge emotional episodes … to generate ideas … prayer requests … devotionals … brainstorming. You get the idea. They can be all these things and more. Anne Lamott uses 3 x 5 cards, Robynne loves a combination of writing and voice recording, and Jane loves bejeweled journals.

What does this have to do with your writing journey? A lot, actually. Especially if you’re on this whole Christian writing journey. It’s a great place to process and ponder what God is doing in your life and what He’s calling you to do. Especially in a private, nobody-is-going-to-read-this way. Jane’s tips are wonderful. Anyone want to carpool to the stationery store?

In which Robynne waxes poetic on one of her favorite topics: Writing Conferences. She firmly believes that writing is a team event, NOT a solo sport. So, she’s particularly passionate about this topic. Northern California has a particularly rich literary environment with numerous solid conferences, workshops, etc., but there are over thirty Christian writing conferences scattered throughout North America. WCCW, ACFW, and OCW get a big plug for quality conferences on the West Coast, but there are numerous worth a look. Robynne gives a load of tips on how to choose and get the most out of your conference experience and explains in detail what you can hope to gain when you step out of your comfort zone and into a quality Christian writers conference! (hint: it involves relationships, finding your tribe, improving craft, and getting fully inspired)

In which Jane tackles the tricky subject of figuring out unique ways to get your creative juices flowing when you’ve finished a project and need a new direction, hit a literary wall, or are suffering from a bad case of writer’s block. So, if inspiration is eluding you, here are some interesting possible sources for your next greatest writing idea. Or starting point for a free writing session. Or some notes you need to give to your therapist. But I digress.

On dreaming, we learn something interesting: Jane tends to dream in plots. Robynne tends to dream and remember emotions. No one should be surprised by either of those revelations, though. But headlines are a great source of timely, complicated plot points, too. Basically, inspiration is all around us.

In which Robynne and Jane further their discussion about different kinds of writing groups. This time, however, they hone specifically in on critique groups. Robynne makes the VERY bold declaration that if she had to choose between BEING critiqued and critiquing others, she’d always choose critiquing others. Why? Listen in and you’ll find out!

What’s more, you’ll learn what The One Big Thing is, and why it is a crucial component in a strong, effective, life-changing critique. If you don’t leave this episode with renewed respect for the art and value of critiquing AND a new skill that will greatly improve your own writing, you must have fallen asleep during the episode. Have an espresso and listen again. It’s worth it.