Month: November 2024

Copy Work: What is it? Why do it?

by Jackie Houchin

If you are an avid reader, you know that the best writers pull you into their worlds. Their words become images in your imagination as soon as you read them. The writing itself becomes invisible. (Or at least it should.)

That is a problem when reading to learn how the author did it. Instead of paying attention to the sentence structure, you are immersed in the story.

That is where copy work comes in.

What is Copy Work?

It is the practice of exactly copying another writer’s words, omitting no punctuation mark or capitalization, usually done with a pen.

Who even does this?

Jack London trained himself to be a better writer by copying out (in longhand) passages from Rudyard Kipling’s work.

Other writers have used Ernest Hemingway’s writings or copied out “The Great Gatsby” by F. Scott Fitzgerald. (A short novel)

Morgan O’Hara copied the U. S. Constitution by hand, word by word.

Greg Digneo, on SmartBlogger, tells the story of salesman Dan Kennedy, who copied a two-foot stack of sales letters by hand. Twice!  He wanted to become the best in this field.  Today, you would have to pay him $100,000 to write a sales letter for you. And he would get a commission on every sale you make.

What is the goal of copy work for writers?

The goal is to understand how authors write and express their ideas. What makes their writing work and flow? How do they structure their paragraphs and sentences? How do they create compelling characters?

Copy work helps you identify bad writing habits, like passive voice, stale metaphors, repeated words, etc.  It will help you with good punctuation and grammar, spelling and vocabulary, pacing, scene description, and using dialog tags.  It will help you write more precisely, with fresher, more original words.

Seriously!

Artists copy the Masters to improve their skills. If you want to be a better writer, copy great writers. 

How do you make the most of your copy work?

  1. Choose a writer you love, the book(s) you could not put down.
  2. Set aside time to do your copy work daily (20-30 minutes for handwriting, 10-15 for typing). Use a timer.
  3. Select a moderate-sized chunk of text. (Not War & Peace, but also not a Haiku)
  4. When you finish copying one story, pick another one to work on. Keep going for at least 90 days. (The magic of copy work happens through repetition.)
  5. Don’t stick to a single author. The goal is to learn writing techniques, not imitate one author.
  6. Mix genres: nonfiction to fiction, fantasy, science fiction, mystery, poetry, film scripts. (They all teach different writing methods, scene structures, dialogue, setup, etc.)
  7. Practice daily, if you can
  8. At the end of each session, review the passage you copied and add notes. Reflect on what you liked and what you learned.
  9. Follow copy work by moving into your regular writing. You are all primed to go.

By doing copy work every day, you will be writing every day. It will train your brain to see writing as a no-stress, no-pressure practice. It will make it easier to turn to your own writing.  If you are having writer’s block or just can’t come up with a new idea for a project, story, or book, you can still do your copy work to keep that daily writing habit going. You know, seat of your pants in a chair…. etc.

What do you NOT do with your copy work?

You will not publish your copied text or try to pass it off as your own. Copy work is for your eyes only. It’s a writing exercise. It is not plagiarism.

Need some suggestions? Try copying out these.

Have YOU ever tried COPY WORK?  Did it help you?  How?  If not, will you give it a try?  If you can’t comment below, drop me an email at Photojaq@aol.com. 

CONFESSION: Years ago, I read that I could become a great writer if I could copy a book I admired in its entirety. Yes, the WHOLE book.  I thought that sounded too good to be true. But, as I admired Rosamunde Pilcher and loved THE SHELL SEEKERS, I thought I’d try that book.  (The paperback edition is 656 pages!)  I think I got to page 35. I wasn’t becoming a great writer. I was getting bored, and my hand was cramping.  I quit. 

But now, after this research (short sessions, consistency, review and take notes), I’m willing to try again. I may not become great, but I think I’ll improve my writing skills.  I have another book in mind to copy. 

Perhaps in my next rotation post, I’ll tell you what I learned from the experience.

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  • And thanks to the following for their insights on this “cool” topic. 
  • RADEK, founder of Writing Analytics
  • ELIOT CHAN – Eliotchan.com, April 14, 2020 
  • MATTHEW ENCINA – thefutur.com, July 13, 2020
  • JULIA HESS – craftyourcontent.com, May 17, 2018
  • LORRAINE THOMPSON – marketcopywriterblog.com, March 14, 2012
  • ANN KROEKER – Annkroeker.com, June 27, 2017

The Week I Rose Before Dawn to Write

My title is a bit misleading. In the days leading up to Election Day, I did rise in the wee hours and did write. I’m not a morning person, but for years I’ve known writers who worked on their stories before sunrise. There are certainly advantages: it’s quiet, the rest of the (sensible) world sleeps, word counts soar. But it was the election that prompted this deviation from my normal schedule.

In a moment of patriotism, I had volunteered to work at the polls as an Officer of Election (OOE) on Election Day, 5am-7pm and beyond. Yikes! I needed to “train” my system to endure such a radical change to my schedule, and that meant early to bed, early to rise. As long as I was at it, I would write.

Starting on Tuesday, October 29, I rose at 6 am for two days, 5am for two days, and 4 am for three days. I enjoyed coffee, my cat’s companionship, and worked on a short story. I read book on writing, touted as a how-to book on craft (we can always learn about craft); in reality, it was a commentary on writing, delivered in a lofty tone. It required a focus that kept me awake. I did not check my email or anything else on my computer (I wrote in longhand).

Bedtime ranged from 9-10pm, and I had no trouble falling asleep—until the night before the big day when I didn’t get to sleep until 12:30pm. That meant I had three hours and ten minutes of shuteye. Would I be able to make it through the day? As Frank Sinatra crooned, “I’m in the autumn of the year” (in more ways than one).

I did make it through, and enjoyed myself. I worked with a nice group of volunteers and the day was incident-free. The voters were pleasant and cheerful, a diverse group representing a range of ages and cultures. Interesting dress and hair styles as well. A writer’s paradise! I mainly helped them scan their ballots and handed out “I Voted” stickers. Many children accompanied their parents and enjoyed the  “Future  Voter” stickers. I also worked the floor, directing voters to booths, the ballot scanner, and occasionally the restrooms. Voting is at the heart of democracy and I appreciated taking a part in the process.

Would I do it again? Not likely, but it may be too soon to decide. Early voting holds more appeal, as the volunteers work in shifts, a much kinder arrangement. And it would still offer a way to pay tribute to my mother, who worked at the polls for decades.

My feelings about rising early to write: I liked seeing the sun rise and the light growing brighter and brighter. But I found it quite lonely, especially on the 4am days. The quiet was very, well, quiet. I can see the appeal, but it’s not for me.

Happy writing, whenever and wherever you string those words together. And thank you for voting!

Acting Class 101

By Gayle Bartos-Pool

If we’re lucky, we learn stuff everywhere we go in life. I did just that when I moved to California when I was twenty-five. I wanted to write for television and the movies. Me and five million other people. Since I didn’t know anything about the “business” of Hollywood, I thought it would be a good idea to take an acting class to see what writers needed to know when creating a screenplay character.

I happened to get a job working for a talent agent, and he got me in an acting class. This one was taught by Bruce Glover. You might have seen him in the James Bond movie Diamonds Are Forever. He played the sinister/funny character that was trying to kill off Bond.

What Bruce taught was when you’re playing a character, large part, small part, or walk-on, have your character do something that makes him stand out. Have a menacing smile or a delivery of your lines that has everybody notice you. Many famous actors started as bit players and went on to fame and fortune when they did something that stood out on the screen. And that doesn’t mean just having a pretty face.

As a writer, I figured that when I wrote characters, large or small, I would give them something that stood out. It might be their clothes that telegraphed what economic bracket they fell into or a whacky giggle to show that maybe their elevator didn’t go up too many floors. Maybe it’s the words they use that show their high-toned upbringing or their lack of education.

While taking that class, I had to do an improvised scene with another actor. We were to be boyfriend and girlfriend who were having problems. As the other actor and I were chatting on stage pretending we were seeing eye-to-eye while all the time pointing out the major problems we were having with the other character, I had a piece of paper in my hand that I said was the love letter he had written to another woman. I kept folding it in half, long-ways, until it looked like a knife. Obviously, my character was signaling what I wanted to do to my soon-to-be-ex boyfriend. Actions speak louder than words sometimes.
I try to give most of the characters I write that little bit extra to define them, too.

That acting class wasn’t the only one I took. I got lessons from Rudy Solari and Guy Stockwell. Both men had long careers in Hollywood. What Rudy had actors do was write a biography for the character they were playing so they knew exactly who they were when they stepped on the stage. It didn’t have to write pages and pages, just a brief background of that character, stating where he came from, how he was raised, his education, and what he wanted out of that scene.

What this did for the actor was let him know what motivates his character because in a screenplay, the writer usually just provides the dialogue, maybe how the line should be spoken like a whisper or yelling, and a few physical actions like running away or punching someone. Of course, the director will provide even more of those directions.

But the writer of a novel or short story needs to know who this character is, what motivates him, and things like his age, hair color, and stature, because when you’re writing a story, you don’t want to get to page 275 and have your twenty-five-year-old character with black hair all of a sudden be a thirty-six-year-old blond.

I write a short biography for all my main characters, adding to it as I think about what their past might have included that will help the current story angle. And I keep a Character List for everybody appearing in the story so I know who is who, and who they know, and why they’re there. It sure helps when I get to a spot and need to know all the previous things I wrote about that character like their age, hair color, or their role in the story.

And something else about those two acting classes, they gave me the confidence to get up in front of an audience when I’m talking about the books I wrote. I already know my motivation: get people to read.

Choosing a Genre

by Linda O. Johnston

Or does the genre choose us?

I’ve written here before about choosing a theme in the fiction we’re writing, but now I’m going to discuss selecting a genre.

Me? I’ve written in many genres, starting with mystery short stories way back when, then moving into time travel romances, mysteries, paranormal romances and romantic suspense. And often writing in more than one of those genres at the same time.

How did I choose the genre each time?

Well, it was partly what popped into my head and hung on there. And that was most often because whatever genre I decided to write in was also one I was currently reading a lot in.

Therefore, in that respect, the genre I’m reading most at the moment does often choose me, insisting that I write my own story or several in that genre.

So… mysteries? For me, always. Well, almost always. Though I’m still reading mysteries, my own mystery writing has slowed down. Not that I don’t include mysteries in what I’m writing, though, since my current focus is romantic suspense.

Yes, you might have noticed that a common tie between many of those genres I’ve written in is romance. I love love stories! Even when I’ve written a strictly mystery story, my protagonist almost always has a romantic relationship.

For example, in my first published mystery series, the Kendra Ballantyne Pet-Sitter mysteries, Kendra is a lawyer on hiatus because of some nasty things that happened in her life, so she’s making a living now as a pet-sitter. Her wonderful Cavalier King Charles Spaniel Lexie is often with her. One way or another, she keeps tripping over murdered bodies. And, of course, sexy PI Jeff Hubbard comes into her life to help her solve all those mysteries.

Oh, yes, that other sort of genre—well, theme—that is almost always include in my stories, especially these days, is animals, mostly dogs, whether or not it’s a romance or mystery or something else. And Kendra’s stories were in some ways about me since I was a practicing lawyer at the time and one of my Cavaliers then was Lexie. But I’ve said all that here before.

Now? Well, I always have dogs around me, and so do the protagonists in my current Harlequin Romantic Suspense stories. The last in my current series, the Shelter of Secrets, is finishing up next year, and I’m already working on the first in the next series.

And you? What’s your favorite genre to read? And if you’re writing, what genre(s) are you writing in?