Chris Eboch's Blog, page 21

Get Southwestern Romantic Suspense on Sale

Whispers in the Dark is on sale for $.99!

Reviewers give it a 4.3 star average: “A great read with a strong plot line & likeable characters!” 

Whispers in the Dark: 

Archaeology student Kylie Hafford craves adventure when she heads to the remote Puebloan ruins of Lost Valley, Colorado, to excavate. Romance isn’t in her plans, but she soon meets two sexy men: Danesh looks like a warrior from the Pueblo’s ancient past, and Sean is a charming, playful tourist. The summer heats up as Kylie uncovers mysteries, secrets, and terrors in the dark. She’ll need all her strength and wits to survive—and to save the man she’s come to love. 

Whispers in the Dark, romantic suspense set in the Four Corners region of the Southwest, will appeal to fans of Mary Stewart, Barbara Michaels, and Terry Odell. Get your copy today!


Website sampleBuy or sample on AmazonBarnes & Noble SmashwordsAppleARE
The Mad Monk’s Treasure e-book is also on sale for $.99! 

Reviewers give it a 4.4 star average: “Great balance of history, romance, and adventure. Smart romance with an "Indiana Jones" feel. Well-written with an attention to detail that allowed me to picture exactly in my head how a scene looked and played out.” - Jules R.


A heretic Spanish priest’s gold mine, made richer by the spoils of bandits and an Apache raider—the lost Victorio Peak treasure is the stuff of legends.
When Erin, a quiet history professor, uncovers a clue that may pinpoint the lost treasure cave, she prepares for adventure. But when a hit and run driver nearly kills her, she realizes she’s not the only one after the treasure. And is Drew, the handsome helicopter pilot who found her bleeding in a ditch, really a hero, or one of the enemy? Just how far will Erin go to find the treasure and discover what she’s really made of?
“The story has it all - action, romance, danger, intrigue, lost treasure, not to mention a sizzling relationship....”
Get it now from Amazon, Barnes & Noble, All Romance E-Books, Kobo, or Apple/iTunes:

Webpage sampleAmazonNookARESmashwordsKoboApple/iTunes 

The Mad Monk’s Treasure on sale

The Mad Monk’s TreasureThe Mad Monk’s Treasure e-book version is currently on sale for $.99! “Great balance of history, romance, and adventure. Smart romance with an "Indiana Jones" feel. Well-written with an attention to detail that allowed me to picture exactly in my head how a scene looked and played out.” - Jules R.
Get it from Amazon, Barnes & Noble, All Romance E-Books, Kobo, or Apple/iTunes. (Click the link in this post and use the website links in the left-hand column, or see the links in the comments)

http://www.krisbock.com/the_mad_monk_...

99c Romantic Suspense sale

Whispers in the Dark is on sale for $.99!
Archaeology and intrigue among ancient Southwest ruins. Reviewers give it a 4.3 star average: “A great read with a strong plot line & likeable characters!” Get your copy today,
Whispers in the Dark: Archaeology student Kylie Hafford craves adventure when she heads to the remote Puebloan ruins of Lost Valley, Colorado, to excavate. Romance isn’t in her plans, but she soon meets two sexy men: Danesh looks like a warrior from the Pueblo’s ancient past, and Sean is a charming, playful tourist. The summer heats up as Kylie uncovers mysteries, secrets, and terrors in the dark. She’ll need all her strength and wits to survive—and to save the man she’s come to love.
Whispers in the Dark, romantic suspense set in the Four Corners region of the Southwest, will appeal to fans of Mary Stewart, Barbara Michaels, and Terry Odell.

Website sample and links to variouse-book retailers - http://www.krisbock.com/whispers_in_t...

Critique Group Characters

Great critiquers!I’ve released a new book on the craft of writing, called You Can Write for Children : How to Write Great Stories, Articles, and Books for Kids and Teenagers. To celebrate the release, I’m sharing a excerpt from the chapter on Critiques. First I shared the intro to the chapter and advice on getting feedback from family and friends. Then I discussed some basics about critique groups. Last week I shared some challenges to watch out for in a critiquegroup. Now here are some specific character types to watch out for in your critique group.
Critique Group Characters
Watch out for the following personality types in a critique group:   It's all wonderful!
Art by Lois BradleyThe Cheerleader. She loves everything you do! This is gratifying, especially when you are doubting your talent, but it’s not particularly helpful in improving your work.
The Grammarian. He doesn’t have a lot to say about the content of your work, but he’ll circle every typo in red pen and may insist you follow strict grammar rules that have gone out of date. (By the way, I never use red pen on critiques – blue, purple, or green ink stands out from the black text, without that negative association of graded English papers.)
Me? An opinion?The Mouse. You can’t tell whether or not she likes your work, because she never voices an opinion. She might hide behind the excuse that she’s not experienced enough to offer feedback. She’ll do this for years.
The Perpetual Beginner. He truly isn’t experienced enough to offer feedback, and he never seems to improve. This type can be divided into The Rut, who brings in the same manuscript over and over without ever making substantial changes (despite all your thoughtful advice) and The Hummingbird, who throws away a manuscript as soon as it’s gotten one negative comment, preferring to work on something new.
The Chatterbox. She wants to talk about anything and everything – other than the manuscripts you’re supposed to be critiquing. This person sees a writing group as a social occasion, not a way to improve your craft.
That's not how I'd do it.Father Knows Best. He always has an opinion, which he voices clearly and often. He prefers to discuss how he would write the story if it were his own, ignoring the author’s vision.
The Bully. She enjoys tearing apart your manuscript. No suggestions, just criticisms bordering on insults.
All these characters have one thing in common. They don’t help you improve your work. Having one Cheerleader in the group can be nice, as it means you’ll hear some praise. The Grammarian may be useful, although often those comments are unnecessary and time-consuming when you are still developing a story and focusing on the big picture, not proofreading.
The Mouse and the Perpetual Beginner don’t do a lot of harm, but they waste your time. Why should you spend hours doing thoughtful critiques when you’re not getting anything in return? (Note, sometimes these people can learn over time. Ask for the specific feedback you want or encourage them to use one of the lists of critiques provided in this chapter. But if they won’t make an effort to be better critique partners, it may be time to end the relationship.)
Some people hate everythingThe Chatterbox is an even bigger time waster. Sometimes that person can be controlled by having a set time for visiting, perhaps the first or last half hour of each meeting. Including some social time is a way for the group to bond. Some critique groups like to start or end with a nice potluck meal. You could also have one or two meetings a year that are purely social. If there’s a way to get Father Knows Best or the Bully to change their behavior, I don’t know it. They should be avoided.
A good critique is kind and supportive, pointing out both good qualities and weak spots in your manuscript, and giving you ideas for how to improve it. The best critiques leave you fired up and ready to get to work on revisions, even if you know you have a lot of work ahead. Look for people who can provide that.

If you've run into these characters, do you have advice on dealing with them? Are there other character types to watch out for?
You can get this whole essay, and a lot more – including a chapter on Advanced Critique Questions – inYou Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers.
Remember the magic of bedtime stories? When you write for children, you have the most appreciative audience in the world. But to reach that audience, you need to write fresh, dynamic stories, whether you’re writing rhymed picture books, middle grade mysteries, edgy teen novels, nonfiction, or something else.
Order for Kindle, in paperback, or in Large Print paperback.Sign up for Chris’s Workshop Newsletter for classes and critique offers.
Cat emoticons by Lois Bradley.

Critique Group Challenges

A good critique partner? Hmm.I’ve released a new book on the craft of writing, called You Can Write for Children : How to Write Great Stories, Articles, and Books for Kids and Teenagers. To celebrate the release, I’m sharing a excerpt from the chapter on Critiques. First I shared the intro to the chapter and advice on getting feedback from family and friends. Last week I discussed some basics about critique groups. Today I'm sharing some challenges to watch out for in your critique group.
Critique Group Challenges
Critique groups can be great. A good one can shorten your journey to publication by years. At their best, these groups are both a source of emotional support and a way to get thoughtful, detailed suggestions about your writing. If you have a supportive and helpful group, remember to say thank you (perhaps with hugs and chocolates).
Unfortunately, not every group is this wonderful. Some start well but fizzle out quickly, because not all members are committed. Others have trouble establishing a regular meeting time, although online groups can bring people together when they don’t live in the same area.
Cozy critiquingBeginning writers in particular may find it hard to join a serious, experienced critique group. Often the most accomplished writers want to work with other professionals, and established groups may be closed to new members. Still, you may be able to join or start a group with other beginning or intermediate writers. You can learn together and encourage each other. Some groups have started with all new writers and several years later had every member published.
In the worst case, a bad group, or even one bad person in a group, can be discouraging, even soul-crushing. Watch out for problems and act quickly to protect yourself. This could mean leaving the group, starting a splinter group with some members, or setting up new rules for the current members.
Individual writers have different levels of sensitivity. If you find any critical comment horrifying, the problem may lie with you, and you’ll need to either develop thicker skin, or write for your own enjoyment but not expect anyone else to publish or review your work.
On the other hand, if you’re normally open to suggestions but a particular critique partner leaves you feeling like you never want to write again, you may need to end that relationship. If you have a good group except for one problem person, you might discuss the issue with other members of the group. Do you think the person might respond to a direct request for a change in behavior? If not, maybe that person could be politely informed that they are not a good fit for the group. Or you could disband the group and start a new one without telling them. If you don’t take some action, the group will fall apart and you’ll lose everyone.
Have you run into these problems in a critique group?

Next week I'll discuss some of the particular problem characters who can show up in a critique group. The following weeks will provide advice on taking classes and hiring a professional editor.
You can get this whole essay, and a lot more – including a chapter on Advanced Critique Questions – inYou Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. In this book, you will learn:
How to explore the wide variety of age ranges, genres, and styles in writing stories, articles and books for young people.How to find ideas.How to develop an idea into a story, article, or book.The basics of character development, plot, setting, and theme.How to use point of view, dialogue, and thoughts.How to edit your work and get critiques.Where to learn more on various subjects.
Order for Kindle, in paperback, or in Large Print paperback.Sign up for Chris’s Workshop Newsletter for classes and critique offers.

Making the Most of a Critique Group

I’ve released a new book on the craft of writing, called You Can Write for Children : How to Write Great Stories, Articles, and Books for Kids and Teenagers. To celebrate the release, I’m sharing a excerpt from the chapter on Critiques. Last week I shared the intro to the chapter and advice on getting feedback from family and friends. Today, let's look at getting feedback from other writers.
Critiquing with Other Writers
Joining a critique group is often a great way to get feedback as well as emotional support for your journey as a writer. Reach out through local writing groups, writers’ discussion boards, or Goodreads author groups. The Society of Children’s Book Writers and Illustrators (SCBWI) “Blueboard” discussion boards have a section specifically for arranging manuscript critique exchanges. This section is available to SCBWI members only. You can also try putting up notices in libraries, bookstores, and cafes. (Be careful about listing personal information, and make sure you meet strangers in a public place.)
When you critique each other, try to keep in mind the “sandwich” method of giving feedback. You start by saying something you like about the manuscript. Then you offer some suggestions or ask questions. Finally, you end with more praise. When the more critical comments are sandwiched between compliments, it’s easier to accept the advice. Note also that you should be offering advice, not criticism. What’s the difference?
Your story is boring. – Criticism
I didn’t notice a lot of conflict. Maybe if she had a stronger goal, with higher stakes, the story would be more dramatic. – Advice
Your character is a brat. I hated her. – Criticism
I couldn’t really identify with your character. I wonder what about her appealed to you? Maybe if the reader understood her better, she’d be more likable. – Advice
Conferences are a way to meet other writersCriticism points out a problem, often in a mean way. That tends to leave the writer discouraged and not wanting to write anymore. Advice points out problems in a gentler way, ideally with ideas for fixing the problem. Suggestions should be presented as options, not absolute truth. Advice acknowledges that this is only one reader’s opinion; others may have a different reaction, and ultimately it’s the writer’s goal that matters. Good advice leaves the writer enthusiastic about working on the story.
Have you struggled to find a good critique group, or do you have a success story to share?

Over the next few weeks, I'll be discussing critique group challenges and characters, and then offering advice on taking classes and hiring a professional editor.
You can get this whole essay, and a lot more – including a chapter on Advanced Critique Questions – inYou Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers.
Remember the magic of bedtime stories? When you write for children, you have the most appreciative audience in the world. But to reach that audience, you need to write fresh, dynamic stories, whether you’re writing rhymed picture books, middle grade mysteries, edgy teen novels, nonfiction, or something else.
Order for Kindle, in paperback, or in Large Print paperback.
Sign up for Chris’s Workshop Newsletter for classes and critique offers.

Critiques, Critiquers, and Critiquing

I’ve released a new book on the craft of writing, called You Can Write for Children : How to Write Great Stories, Articles, and Books for Kids and Teenagers. To celebrate the release, I’m sharing a excerpt from the chapter on Critiques. Here's part one, part of the intro plus advice on getting a critique from family or friends.
Why Get a Critique?
If you are not writing for publication, and you don’t care about improving as a writer, you don’t need to take criticism from anyone. That’s fine; it’s totally your decision. But if you do hope to publish your work, or if you simply want to learn to be a better storyteller, you’ll need to get feedback at some point. Few people are good at analyzing their own writing, so getting critiques is an important part of editing and learning how to improve your writing.
Getting critical feedback can be painful. Sometimes this comes from the critique partner being unnecessarily harsh. At other times, it comes from the writer being overly sensitive. If your manuscript is your “baby,” you might not appreciate any comments that suggest it isn’t perfect. But praise alone won’t help you improve your writing.
Try to keep in mind that a critique isn’t an insult. It’s a way to help you make the manuscript even better. Also, it isn’t about you as a person, or even you as a writer. It’s about this particular manuscript, at this moment in time. If the manuscript is flawed, that’s all right. In fact, it’s usually a necessary part of the process. Most writers produce horrible, ugly, embarrassing manuscripts in the early stages. It’s the editing that makes those stories wonderful. A quote contributed to several different authors is “You can’t edit a blank page.” Get something down, and then figure out how to make it better. Getting a critique can help you figure out how to make it better.
Finally, any critique advice is a matter of opinion. If several people are pointing out a problem, there’s likely a problem. But if only one person makes a comment, and it doesn’t resonate with you, it’s fine to ignore it or get a second opinion. Ultimately you have to write something that pleases you; it’s not your job to change your manuscript based on every piece of advice that anybody cares to give.
You can get feedback in several different ways. Today we'll look at getting critiques from family members or friends.
I help!Family and Friends
You may have family members or friends who are happy to read your writing. Usually these people are not experienced writers. That means they may not know how to identify story problems or give advice about them. Still, they might be able to offer opinions from a reader’s perspective.
When getting critiques from family and friends, it’s best to keep your request simple. You might ask your readers to mark any place they:
Are boredAre confusedDon’t believe things would happen that way
That’s simple enough for anyone to follow, and it should point out trouble spots in the manuscript. For a little more detail, Freelance Editor Karen R. Sandersonoffers this list to provide guidance to your critique partners:
Critical: Please provide an honest response, not only compliments.
Real: Does it feel real and does the dialogue read like people actually talk?
Imagery: Can you imagine the scenes, places, and people?
Timing: Did the timing of events, chapters, and character introductions make sense?
Interesting: Did it capture your interest or were you ready to put it down after the first paragraph?
Questions: Did you have questions? Were you unsure of what was happening or why?
Unique: Is it unique or is it like a dozen other books you wished you hadn’t purchased?
Engaging: Were you engaged in the characters, the scenes, the events?
By giving a little direction, you emphasize that you truly want feedback (not only compliments), and you encourage people to look at the bigger picture and not just mark any typos they notice. Otherwise you may only hear good things. Praise is delightful, but when it comes from people you know, the rave reviews do not necessarily mean your work is wonderful. It could mean those people don’t want to hurt your feelings. It could mean they don’t read enough in this genre to tell good from bad. Or it could simply mean that they like you and are predisposed to enjoy anything you write.
The latter issue is especially common with reading stories to your children, grandchildren, or students. They enjoy the attention and it’s fun to hear stories read aloud. People who know you well may also recognize family stories, which would not have the same appeal to an outside audience. For example, if you base a story on the antics of your family’s cat, your children may love it, but it may not resonate the same way with strangers.
Many professionals warn against taking feedback from non-writers too seriously. Editors and agents do not want to hear in your query letter that your children, grandchildren, students, etc. loved your work. That’s meaningless and might be taken as a sign that you are not a serious writer.
On the other hand, sometimes family members and friends offer blunt, even brutal, criticisms. Some people seem to think it’s OK to be rude to a loved one in a way they wouldn’t behave to a stranger. Some people may even be secretly trying to discourage you, so you’ll spend more time on them and not your new hobby. Others may honestly be trying to help but not know how to give balanced, encouraging feedback. Or maybe they don’t understand the kind of writing you are doing. Someone who only reads epic fantasy novels for adults may not be the best person to give feedback on a picture book for young children.
In short, feedback from friends and family can vary greatly in its helpfulness and hurtfulness. It can be especially crushing to hear negative reactions from a loved one. If someone’s comments make you feel sad or discouraged, maybe you don’t want to share your stories with that person in the future.
Of course, if you are not really ready to hear any criticism, don’t ask for it. It’s fine to share your work with family members or friends and let them know that you do not want comments, you simply want to share. If they insist on trying to provide criticism anyway, interrupt them. Make it clear that’s not their job; you only want support.
What challenges have you faced in getting feedback from family or friends?

Over the next few weeks, I'll be looking at getting feedback from other writers – including critique group challenges and characters – as well as taking classes and hiring a professional editor.
You can get this whole essay, and a lot more – including a chapter on Advanced Critique Questions – inYou Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. In this book, you will learn:
How to explore the wide variety of age ranges, genres, and styles in writing stories, articles and books for young people.How to find ideas.How to develop an idea into a story, article, or book.The basics of character development, plot, setting, and theme.How to use point of view, dialogue, and thoughts.How to edit your work and get critiques.Where to learn more on various subjects.
Order for Kindle, in paperback, or in Large Print paperback.
Sign up for Chris’s Workshop Newsletter for classes and critique offers

Writing for the Right Age

Are You Writing for the Right Age?

Writing for children is different from writing for adults in a few important ways. One issue is the need to consider reading level. The grade level or reading level needs to fit the audience. For example, kindergartners might be able to understand a story if they heard it read aloud, when they wouldn’t actually be able to read it. A first-grader who is learning to read may have trouble with more advanced grammar, such as contractions and compound sentences. Most fifth-graders cannot read material written at a high school level. This means a story aimed at elementary children can look quite different from one aimed at teenagers.

Read more at:

http://www.childrenswritersguild.com/...

Writing for Children or Teens: Happy Endings

To celebrate the release of  You Can Write for Children : A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers, I’m sharing a excerpt from one chapter on “Developing an Idea.” Week onestarted the topic of Developing an Idea, week twointroduced the parts of the story or article, and week three covered expanding the middle. Here’s part four:
Happy Endings
The climax ends with the resolution. You could say that the resolution finishes the climax, but it comes from the situation: it’s how the main character finally meets that original challenge.
In almost all cases the main character should resolve the situation himself. No cavalry to the rescue! Today, even romance novels rarely have the hero saving the heroine; she at least helps out. We’ve been rooting for the main character to succeed, so if someone else steals the climax away from him or her, it robs the story of tension and feels unfair.
Keep the child in chargeHere’s where many beginning children’s writers fail. It’s tempting to have an adult – a parent, grandparent, or teacher, or even a fairy, ghost, or other supernatural creature – step in to save the child or tell him what to do. But kids are inspired by reading about other children who tackle and resolve problems. It helps them believe that they can meet their challenges, too. When adults take over, it shows kids as powerless and dependent on grownups. So regardless of your character’s age, let your main character control the story all the way to the end (though others may assist).
For example, Sam Bond’s Cousins in Action series is an ensemble featuring five cousins who have international adventures. The children take turns at being the hero throughout each book. In Operation Golden Llama , three of the young protagonists find themselves kidnapped on a mountainside in Peru. Their eleven-year-old cousin outwits the adults and treks through the jungle to come to their rescue.
Although your main character should be responsible for the resolution, she doesn’t necessarily have to succeed. She might, instead, realize that her goals have changed. The happy ending then comes from her new understanding of her real needs and wants. Some stories may even have an unhappy ending, where the main character’s failure acts as a warning to readers. This is more common in literary novels than in genre fiction.
Tip:
·  How the main character resolves the situation – whether she succeeds or fails, and what rewards or punishments she receives – will determine the theme. To help focus your theme, ask yourself:
What am I trying to accomplish?
Who am I trying to reach?
Why am I writing this?
art by Lois BradleyOnce you know your theme, you know where the story is going and how it must be resolved. For example, a story with the theme “Love conquers all” would have a different resolution than a story with the theme “Love cannot always survive great hardship.”
The next time you have a great idea but can’t figure out what to do with it, see if you have all four parts of the story. If not, see if you can develop that idea into a complete, dramatic story or novel by expanding your idea, complications, climax or resolution, as needed. Then readers will be asking you, “Where did you get that fabulous idea?”

You can get this whole essay, and a lot more – including a chapter on theme – in You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. Order for Kindle, in paperback, or in Large Print paperback.
In this book, you will learn:How to explore the wide variety of age ranges, genres, and styles in writing stories, articles and books for young people.How to find ideas.How to develop an idea into a story, article, or book.The basics of character development, plot, setting, and theme – and some advanced elements.How to use point of view, dialogue, and thoughts.How to edit your work and get critiques.Where to learn more on various subjects.

Developing Your Story for Children or Teenagers

I’ve released a new book on the craft of writing, called You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. If you are just starting out, this book will get you going. If you have some experience but need help developing your skills, this book will do that as well.
To celebrate the release, I’m sharing a excerpt from one chapter on “Developing an Idea.” Week onestarted the topic of Developing an Idea, week twointroduced the parts of the story or article, and here’s part three:
Building the Middle
If a character solves his goal easily, the story is boring. To keep tension high, you need complications.
For short stories, try the “rule of three” and have the main character try to solve the problem three times. The first two times, he fails and the situation worsens. Remember: the situation should worsen. If things stay the same, he still has a problem, but the tension is flat. If his first attempts make things worse, tension rises.
For novels, you may have even more attempts and failures. In my first Haunted book, The Ghost on the Stairs , I made sure each ghost encounter felt more dangerous. As Tania tries to get closer to the ghost in order to help her, Jon worries that she will go too far and be injured or even killed. With enough variety, you can sustain this kind of tension indefinitely (witness the ongoing battle between Harry and Voldemort in the seven-book Harry Potter series).
You can worsen the situation in several ways. The main character’s actions could make the challenge more difficult. In my children’s mystery set in ancient Egypt, The Eyes of Pharaoh , a young temple dancer searches for her missing friend. But when she asks questions at the barracks where he was a soldier, she attracts dangerous attention from his enemies.
The villain may also raise the stakes. In my Mayan historical drama, In The Well of Sacrifice , the main character escapes a power-hungry high priest. He threatens to kill her entire family, forcing her to return to captivity.
Secondary characters can cause complications, too, even if they are not “bad guys.” In The Ghost on the Stairs , the kids’ mother decides to spend the day with them, forcing them to come up with creative ways to investigate the ghost while under her watchful eyes.
Finally, the main character may simply run out of time. At her first attempt, she had a week. At her second attempt, she had a day. Those two attempts have failed, and now she has only an hour! That creates tension.
Tip:
• For each turning point in the story, brainstorm 10 things that could happen next. Then pick the one that is the worst or most unexpected, so long as it is still believable for the story.
Does your story have twists?Can She Do It?!
Your character has faced complications through the middle of the story. Finally, at the climax, the main character must succeed or fail. Time is running out. The race is near the end. The girl is about to date another guy. The villain is starting the battle. One way or another, your complications have set up a situation where it’s now or never. However you get there, the climax will be strongest if it is truly the last chance. You lose tension if the reader believes the main character could fail this time, and simply try again tomorrow.
Tips:
• Don’t rush the climax. Take the time to write the scene out in vivid detail, even if the action is happening fast. Think of how movies switch to slow motion, or use multiple shots of the same explosion, in order to give maximum impact to the climax. Use multiple senses and your main character’s thoughts and feelings to pull every bit of emotion out of the scene.
• To make the climax feel fast-paced, use mainly short sentences and short paragraphs. The reader’s eyes move more quickly down the page, giving a sense of breathless speed. (This is a useful technique for cliffhanger chapter endings as well.)

Next week I’ll share an excerpt on story endings. You can get the whole essay now, and a lot more, inYou Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. Order for Kindle, in paperback, or in Large Print paperback.