Chris Eboch's Blog, page 37
October 14, 2011
Make the Most of Your Conference: How to Follow Up
In July, I did a couple of posts about getting ready for a writing conference. I've heard conference reports from around the country in the last couple of weeks, so for those of you who've had a chance to attend one, here's the next step -- what you should do after the conference. After the conference: You talked to strangers, made friends, and maybe even chatted with an editor. Time to go home and relax, right? Not quite. All that hard work only pays off if you follow up. Write "nice to meet you" notes to all those people who gave you their business cards. Thank anyone who gave you advice. And of course, send your manuscript or query to anyone who expressed interest in it. If the manuscript isn't ready yet, write the editor stating that you are looking forward to sending your manuscript when it's finished in X months. You should also type up your notes while they're fresh in your mind. A few jotted phrases that made perfect sense during an inspiring talk can read like hieroglyphics a month later. Then set some goals based on what you learned. A good conference may provide you with dozens of pages of advice and ideas. Don't try to do everything at once, or worse, ignore it all because you feel overwhelmed. Instead, choose three things to focus on. They might involve craft, research, or marketing. For example, here's my list after attending a Book Boot Camp with Australian author Jen McVeity:Practice strong story starts.Investigate writing for easy reader series.Use Story Structure guide to edit nonfiction bio. I might review my notes in a few months and set some new goals. But for now I have someplace to start. Finally, critique the conference. Think about the workshops, speakers, events, other attendees, and your own behavior. Was it worth your time? How can you prepare better for next time? Make notes to review before your next conference. I'm already looking forward to my next conference. I'll hear great speakers and learn about the craft of writing and the business of publishing. I'll see people I met last year, and I know I'll make new friends. I can hardly wait.
October 12, 2011
First Page Critique: Fantasy
We have another opening page critique today. Here's The Dreams of the Common People, by Don Nelson
Prologue
For three hundred years, no one had ventured into the long forgotten and remote corner of the earth known as, The Common Land. The inhabitants of this lonely place had never given thought to cross over the rugged borders into the unknown surrounding lands. The Common People lived out their lives on a cultural island separate from all the other people groups of the known world.
In a previous enlightened time, this unimportant place functioned well and the people prospered. No one owned the land on which they lived. The land had always been owned and nurtured by nature. In the beginning of time, the order of things, both seen and unseen, had allowed both good and evil to co-exist, side by side. Neither force dominating the other because of a truce established between The Maker of Good and The Demon One.
The atmosphere of this long existent and balanced society changed the day a brutal, arrogant and evil enemy, known as The Hooded Accusers, galloped across the impassable borders into the Common World. They brought with them an oppressive force, which was soon to create a race of tormented men and women. Only the Common Children were spared from this unending season of oppression until they reached the age of accountability.
The grieving populace endured constant visions and voices of suffering in what had become a ghostly infected, malignant and decaying world.
The peace loving Common Landers had long ago given up any thoughts or hopes of escaping from these brutal thoughts and emotional captivity. The pleas and whines of mental persecution, a common sound throughout the land, subsided only when the people dreamed. It was a simple dream that gave them a daily hope of the "sacred-one", the one who would lead them out of their captivity.
The Hooded Accusers, also known as the 'spoilers of dreams' had toiled long, at their own destiny, waiting the glorious day when they would be rewarded, by their master, for their dedicated and unending service.
Chapter One
"Good thoughts can happen to anyone"
This is the first line of the first page of, "The Journal of Good", documenting the record of the Common People's ancestral history. The journey to reach those good thoughts would require the skills and talents of the most unlikely hero, a fifteen-year-old boy named Darby, and his three footed traveling companion, a four hundred year old tortoise named, Achilles.
My comments: Usually I do a little more line editing, and I did notice some grammatical errors here, plus writing that was hard to follow sometimes. (When you are conveying a lot of information quickly, use shorter sentences with one piece of info per sentence, to give the reader time to process each piece.) But my bigger concern is that this seems to be all back story "telling." I get the impression that the author has created an interesting fantasy world, and I'm certainly intrigued by the elderly, three-footed tortoise. I'm also curious about the "spoilers of dreams." But I'd rather start with specific characters, where something is happening, and figure out the background slowly from context.
You can find extensive debates on when (if ever) and how Prologues should be used. I'll cautiously acknowledge that they may have a place at times, but generally I recommend avoiding them. Often it's an excuse for the author to "info dump" a bunch of background information he thinks readers need to know to understand the story. But plenty of novels with complex and unusual worlds drop the reader right into the story. Trust your reader to figure out the situation as we go along!
Here's an example from a fantasy novel by Joni Sensel, The Farwalker's Quest:
Zeke's tree wouldn't speak to him."Are you sure you've got the right tree?" Arial asked when he told her. "Maybe you've been hearing another nearby that got tired of the confusion and gave up."Zeke shook his head as the two twelve year olds hurried back across the meadow toward afternoon classes. At lunchtime, they'd dashed off to chase pollywogs in the creek. Their catch wiggled in the wood bucket that now dangled between them, and water splashed their legs with each step. Their free hands crammed their mouths with last-minute lunches."I think I know my own favorite tree," grumbled Zeke. "She's just stopped paying attention."Ariel calculated. Today was March 29. "But Namingfest is only three days away!""Gee, really?" Zeke rolled his eyes. "I might..." he couldn't say he might fail. "I might have to wait until next year."
This opening introduces the two main characters, suggests the setting, introduces a problem, and hints at unusual fantasy elements—all in 140 words. We don't have to know yet what Namingfest is, or why Zeke would expect a tree to speak to him. The hints are intriguing enough that many readers will want to read on. Without knowing more about The Dreams of the Common People, I can't say for sure whether a prologue is necessary, or where the story should really start. But I would certainly recommend cutting background information at the beginning of the story, and starting with a scene that includes action and dialogue, and a specific, immediate problem. The problem needn't be the main story problem yet, just something to draw us in, so we can learn about this world in an exciting way. (Click on the "Beginnings" label in the list to the right, for more specific advice on story beginnings.)Thanks, Don, for sharing your work!
October 7, 2011
Making Peace with Revision, by Sarah Perry
Hey folks – I'm hosting a bunch of guests on my blog this month, to offer a broader perspective on writing. If you are a first-time visitor interested in the craft of writing, please scroll down to the list of topics on the right, and browse through the archives, for lots of advice on how to be a better writer. Today my guest is Sarah Perry, an author and librarian, talking about revision.
Sarah Perry:
Congratulations! You've completed a first draft of your manuscript. You've managed to restrain yourself from sending it off to anyone and everyone who might publish it. Now you've come to that special time in the writing process: revising. If it strikes fear and dread into your little creative heart, you're not alone. Revising can be a painful process. For one thing, you look back through your words and find glaring mistakes: grammar goofs, plot holes, dull characters, telling rather than showing, lack of description and a whole host of other embarrassing things. The perfect gem you had in your mind when you typed 'The End' is not what you're looking at now. How on earth do you mold it into the jewel you know it can be?
I'm afraid I have only one answer for you: hard work. There's no way around it, only through, but you can do it. Hard work doesn't have to mean 'no fun'. You could join a critique group with like minded individuals and have a blast with them while getting a fresh set of eyes on your work. You can attend conferences and workshops and get inspiration and great tips from industry professionals. You can put on your favorite music, eat your favorite snack and spend some quality time with those beloved characters. Enjoy playing God with them and whip their stories into shape.
The number one thing that helps me in my revising is realizing that publishing is a business. If I want to sell to a publisher, I can't think of it as my baby. I have to think of it as my manuscript. It's difficult, but you have to detach from the emotions you feel toward your book when you're revising and try to see what's really there.
Do you have a tendency to repeat the same thought in three different ways before you move on? (I do). Then pick the strongest and cut the rest. Is the best friend more fun than your main character? Scale her back and add some stronger attributes to your protagonist. Do you have 12 pages of brilliant dialog that doesn't advance the plot one bit? Mourn it appropriately and let it go.
It's hard to do, but when you look back you'll see a stronger story. If you don't, it's ok to go back and try something else. That's what makes word processors so nice. You can save endless drafts and come back to anything you might want again.
It takes time to get it right. I've been revising my own YA novel for over a year now but the progress I see from draft one to draft 7 keeps me motivated. It's getting there, slowly but surely. I know the amount of time and effort I put in before I start querying may be painful sometimes, but far better than trying to shop a manuscript that just isn't ready. Your manuscript will too.
Some great resources for the revising process:
Writing the Breakout NovelWorkbook by Donald Maass.
FictionNotes from Darcy Pattison
The Society of Children's Book Writers and Illustrators
Sarah Perry is the author of Pajama Girl, a digital picture book about a little girl who gains super powers at bedtime. It won the Grand Prize in the 2010 Meegenius New Book Contest. In addition to picture book writing, Sarah is revising a YA novel, works as a librarian, and is the mother to 2 small children. You can catch up with her on her blog, The Restless Writer, for Kidlit industry interviews, to talk about writing, and more!
October 5, 2011
Am I Famous Yet?
On this blog, I primarily talk about the craft of writing well, with occasional commentary on the publishing business. But I recently joined a monthly blog hop for The Insecure Writer's Support Group, and our task is to express doubts, concerns, lessons or guidance about the emotional side of writing, so today I'm thinking about a lesson I've learned – and sometimes have to relearn.
This past weekend, I attended the Kansas SCBWI writing conference as a workshop speaker. They paid my airfare and put me up in a nice hotel, give me a gift basket with gourmet chocolate, took me out for great meals, and generally treated me like a star. I also got a chance to hang out with not one but two Newbery Medal winners, Linda Sue Park (A Single Shard, 2002) and Clare Vanderpool ( Moon over Manifest , 2011).
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Now I think I'm a pretty good writer, but I sure don't have a Newbery. In fact, I doubt most of the conference attendees had ever heard of me.
It's easy to look at those "above" us and feel jealousy or insecurity – the sense that you're not as good and never will be. But I could also look at those "below" me, the unpublished writers, and feel vanity or arrogance because I have a dozen books and people are paying to hear me speak.
Neither is the right answer. We're in this together, and it isn't a matter of winners and losers, published and unpublished, superstars and nobodies. Learning to write well is a process, a long one, going from beginner to more experienced to "getting good rejections" to interest from an editor to publication – and maybe eventually to award winner status. I can look in one direction and see where I've been. I can look in another and see where I still have room to grow. Where you are on that path doesn't matter so much, as long as you're still moving toward your goals.
Clare and Linda Sue were warm and delightful, by the way. Clare is working on her second novel, and though she didn't say so, I imagine she's feeling some pressure to make it brilliant, after winning such a major award for her first novel. Linda Sue was enthusiastic about the good she gets to do, from pro bono school visits to sponsoring a well in Africa after releasing A Long Walk to Water , her novel based on the true story of one of the "Lost Boys" of Sudan. I didn't think to ask her where she hoped to go next, where she felt she had room to grow, but I bet she would have had an interesting answer. I bet she can still look forward, to new challenges ahead. Writing is its own long walk.
[image error] [image error]
This past weekend, I attended the Kansas SCBWI writing conference as a workshop speaker. They paid my airfare and put me up in a nice hotel, give me a gift basket with gourmet chocolate, took me out for great meals, and generally treated me like a star. I also got a chance to hang out with not one but two Newbery Medal winners, Linda Sue Park (A Single Shard, 2002) and Clare Vanderpool ( Moon over Manifest , 2011).
[image error]
Now I think I'm a pretty good writer, but I sure don't have a Newbery. In fact, I doubt most of the conference attendees had ever heard of me.
It's easy to look at those "above" us and feel jealousy or insecurity – the sense that you're not as good and never will be. But I could also look at those "below" me, the unpublished writers, and feel vanity or arrogance because I have a dozen books and people are paying to hear me speak.
Neither is the right answer. We're in this together, and it isn't a matter of winners and losers, published and unpublished, superstars and nobodies. Learning to write well is a process, a long one, going from beginner to more experienced to "getting good rejections" to interest from an editor to publication – and maybe eventually to award winner status. I can look in one direction and see where I've been. I can look in another and see where I still have room to grow. Where you are on that path doesn't matter so much, as long as you're still moving toward your goals.
Clare and Linda Sue were warm and delightful, by the way. Clare is working on her second novel, and though she didn't say so, I imagine she's feeling some pressure to make it brilliant, after winning such a major award for her first novel. Linda Sue was enthusiastic about the good she gets to do, from pro bono school visits to sponsoring a well in Africa after releasing A Long Walk to Water , her novel based on the true story of one of the "Lost Boys" of Sudan. I didn't think to ask her where she hoped to go next, where she felt she had room to grow, but I bet she would have had an interesting answer. I bet she can still look forward, to new challenges ahead. Writing is its own long walk.
[image error] [image error]
On this blog, I primarily talk about the craft of writin...
On this blog, I primarily talk about the craft of writing well, with occasional commentary on the publishing business. But I recently joined a monthly blog hop for The Insecure Writer's Support Group, and our task is to express doubts, concerns, lessons or guidance about the emotional side of writing, so today I'm thinking about a lesson I've learned – and sometimes have to relearn.
This past weekend, I attended the Kansas SCBWI writing conference as a workshop speaker. They paid my airfare and put me up in a nice hotel, give me a gift basket with gourmet chocolate, took me out for great meals, and generally treated me like a star. I also got a chance to hang out with not one but two Newbery Medal winners, Linda Sue Park (A Single Shard, 2002) and Clare Vanderpool ( Moon over Manifest , 2011).
[image error]
Now I think I'm a pretty good writer, but I sure don't have a Newbery. In fact, I doubt most of the conference attendees had ever heard of me.
It's easy to look at those "above" us and feel jealousy or insecurity – the sense that you're not as good and never will be. But I could also look at those "below" me, the unpublished writers, and feel vanity or arrogance because I have a dozen books and people are paying to hear me speak.
Neither is the right answer. We're in this together, and it isn't a matter of winners and losers, published and unpublished, superstars and nobodies. Learning to write well is a process, a long one, going from beginner to more experienced to "getting good rejections" to interest from an editor to publication – and maybe eventually to award winner status. I can look in one direction and see where I've been. I can look in another and see where I still have room to grow. Where you are on that path doesn't matter so much, as long as you're still moving toward your goals.
Clare and Linda Sue were warm and delightful, by the way. Clare is working on her second novel, and though she didn't say so, I imagine she's feeling some pressure to make it brilliant, after winning such a major award for her first novel. Linda Sue was enthusiastic about the good she gets to do, from pro bono school visits to sponsoring a well in Africa after releasing A Long Walk to Water , her novel based on the true story of one of the "Lost Boys" of Sudan. I didn't think to ask her where she hoped to go next, where she felt she had room to grow, but I bet she would have had an interesting answer. I bet she can still look forward, to new challenges ahead. Writing is its own long walk.
[image error] [image error]
This past weekend, I attended the Kansas SCBWI writing conference as a workshop speaker. They paid my airfare and put me up in a nice hotel, give me a gift basket with gourmet chocolate, took me out for great meals, and generally treated me like a star. I also got a chance to hang out with not one but two Newbery Medal winners, Linda Sue Park (A Single Shard, 2002) and Clare Vanderpool ( Moon over Manifest , 2011).
[image error]
Now I think I'm a pretty good writer, but I sure don't have a Newbery. In fact, I doubt most of the conference attendees had ever heard of me.
It's easy to look at those "above" us and feel jealousy or insecurity – the sense that you're not as good and never will be. But I could also look at those "below" me, the unpublished writers, and feel vanity or arrogance because I have a dozen books and people are paying to hear me speak.
Neither is the right answer. We're in this together, and it isn't a matter of winners and losers, published and unpublished, superstars and nobodies. Learning to write well is a process, a long one, going from beginner to more experienced to "getting good rejections" to interest from an editor to publication – and maybe eventually to award winner status. I can look in one direction and see where I've been. I can look in another and see where I still have room to grow. Where you are on that path doesn't matter so much, as long as you're still moving toward your goals.
Clare and Linda Sue were warm and delightful, by the way. Clare is working on her second novel, and though she didn't say so, I imagine she's feeling some pressure to make it brilliant, after winning such a major award for her first novel. Linda Sue was enthusiastic about the good she gets to do, from pro bono school visits to sponsoring a well in Africa after releasing A Long Walk to Water , her novel based on the true story of one of the "Lost Boys" of Sudan. I didn't think to ask her where she hoped to go next, where she felt she had room to grow, but I bet she would have had an interesting answer. I bet she can still look forward, to new challenges ahead. Writing is its own long walk.
[image error] [image error]
October 3, 2011
Bloggers Connecting with Bloggers
One of the big challenges for published writers is promotion. Recently I stumbled across a few interesting... um, events? activities? maybe I'll just say "things happening on the web."
Rachael Harrie, blogging at "Rach Writes...", is running her third Writers' Platform-Building Campaign, which she says is "a way to link writers, aspiring authors, beginner bloggers, industry people, and published authors together with the aim of helping to build our online platforms." People sign up for different groups based on genre and connect with others in their group. She also has a yahoo group and fun Challenges to help people get to know each other.
That led me to Alex J. Cavanaugh and the Insecure Writer's Support Group! This is a "blog hop" where over 100 people have signed up. On the first Wednesday of each month, we all post on the same topic (in this case, writing insecurities) and try to visit a dozen of the other blogs.
I must admit, I'm still trying to figure out how these things work. And, as with all forms of social networking, I suspect that people who join with the goal of getting others to buy their books will be disappointed. But perhaps I'll get to know some more writers. Those connections can sometimes lead to business opportunities down the road, but in the short term, it's more important to focus on enjoying the community of writers.
Here's the list of "blog hoppers" so far (if you are interested in joining, please visit the Insecure Writers Support Group page for full details first):
Rachael Harrie, blogging at "Rach Writes...", is running her third Writers' Platform-Building Campaign, which she says is "a way to link writers, aspiring authors, beginner bloggers, industry people, and published authors together with the aim of helping to build our online platforms." People sign up for different groups based on genre and connect with others in their group. She also has a yahoo group and fun Challenges to help people get to know each other.
That led me to Alex J. Cavanaugh and the Insecure Writer's Support Group! This is a "blog hop" where over 100 people have signed up. On the first Wednesday of each month, we all post on the same topic (in this case, writing insecurities) and try to visit a dozen of the other blogs.
I must admit, I'm still trying to figure out how these things work. And, as with all forms of social networking, I suspect that people who join with the goal of getting others to buy their books will be disappointed. But perhaps I'll get to know some more writers. Those connections can sometimes lead to business opportunities down the road, but in the short term, it's more important to focus on enjoying the community of writers.
Here's the list of "blog hoppers" so far (if you are interested in joining, please visit the Insecure Writers Support Group page for full details first):
September 30, 2011
I've been getting some great reviews of Advanced Plotting...
I've been getting some great reviews of
Advanced Plotting
. Carmen Oliver, who hosted me on her blog, said, "This really is helping me a lot. It's written beautifully and to-the-point. The essays really help you zero in on your own problems in your manuscript. The Plot Outline Exercise is a great tool! And I love the questions you ask about each fictional story element."
And Don posted this review on Amazon: "This book will help any intermediate or advanced writer who already has a short story, novel etc. in progress, so that they can immediately apply the author's principles of plotting to their story. If you're like me, this book will end up highlighted in your favorite colors, dog-eared and full of 3M post-it notes."
I'm so pleased, I'm sharing another excerpt, from the essay Characters in Conflict.
Characters in Conflict
by Chris Eboch
A strong story needs conflict. But conflict doesn't just come from dramatic things happening. It comes from the character — what he or she needs and wants, and why he or she can't get it easily.
Let's start with a premise for a short story for children: a kid has a math test on Monday. Exciting? Not really. But ask two simple questions, and you can add conflict.
Why is it important to the character? The stakes should be high. The longer the story or novel, the higher stakes you need to sustain it. A short story character might want to win a contest; a novel character might need to save the world.Why is it difficult for the character? Difficulties can be divided into three general categories, traditionally called man versus man, man versus nature, and man versus himself. You can even have a combination of these. For example, someone may be trying to spy on some bank robbers (man versus man) during a dangerous storm (man versus nature) when he is afraid of lightning (man versus himself). For our kid with the math test, here's one example: It's important because if he doesn't pass, he'll fail the class, have to go to summer school, and not get to go to football camp, when football is what he loves most. Assuming we create a character readers like, they'll care about the outcome of this test and root for him to succeed.
Our football lover could have lots of challenges — he forgot his study book, he's expected to baby-sit, a storm knocked out the power, he has ADHD, or he suffers test anxiety. But ideally we'll relate the difficulty to the reason it's important. So let's say he has a game Sunday afternoon and is getting pressure from his coach and teammates to practice rather than study. Plus, he'd rather play football anyway.
We now have a situation full of potential tension. Let the character struggle enough before he succeeds (or fails and learns a lesson), and you'll have a story. And if these two questions can pump up a dull premise, just think what they can do with an exciting one!
Fears and Desires
As this exercise shows, conflict doesn't just come from the plot. It comes from the interaction between character and plot. You can create conflict by setting up situations which force a person to confront their fears. If someone is afraid of heights, make them go someplace high. If they're afraid of taking responsibility, force them to be in charge.
You can also create conflict by setting up situations that oppose a person's desires. Sometimes these desires are for practical things. In my middle grade mystery set in ancient Egypt,
The Eyes of Pharaoh
, the main character is a young temple dancer whose one goal is to win an upcoming contest. When her friend disappears, she has to decide if winning the contest is really more important than helping a friend.
A character's desires can also be more general, related to the way they want to live. In my adult romantic suspense novel,
Rattled
(written as Kris Bock), Erin likes her adventures safely in books. But when she finds a clue to a century-old lost treasure, she's thrust into a wilderness expedition full of dangers from wild animals, nasty humans, and nature itself. If you have a character who craves safety, put her in danger. But if she craves danger, keep her out of it.
Perhaps your character simply wants an ordinary life. In my Mayan historical novel
The Well of Sacrifice
, Eveningstar never dreams of being a leader or a rebel. But when her family, the government, and even the gods fail to stop the evil high priest who is trying to take over the city, she's forced to act. The reluctant hero is a staple of books and movies because it's fun to watch someone forced into a heroic role when they don't want it. (Think of Han Solo in Star Wars.)
Even with nonfiction, you can create tension by focusing on the challenges that make a person's accomplishments more impressive. In JesseOwens: Young Record Breaker (written as M. M. Eboch), I made this incredible athlete's story more powerful by focusing on all the things he had to overcome — not just racism, but also childhood health problems, poverty, and a poor education. I showed his successes and his troubles, to help the reader understand what he achieved.
Some writers start with plot ideas and then develop the character who'll face those challenges, while others start with a great character and then figure out what he or she does. Regardless, remember to work back and forth between plot and character, tying them together with conflict.
And Don posted this review on Amazon: "This book will help any intermediate or advanced writer who already has a short story, novel etc. in progress, so that they can immediately apply the author's principles of plotting to their story. If you're like me, this book will end up highlighted in your favorite colors, dog-eared and full of 3M post-it notes."
I'm so pleased, I'm sharing another excerpt, from the essay Characters in Conflict.
Characters in Conflict
by Chris Eboch
A strong story needs conflict. But conflict doesn't just come from dramatic things happening. It comes from the character — what he or she needs and wants, and why he or she can't get it easily.
Let's start with a premise for a short story for children: a kid has a math test on Monday. Exciting? Not really. But ask two simple questions, and you can add conflict.
Why is it important to the character? The stakes should be high. The longer the story or novel, the higher stakes you need to sustain it. A short story character might want to win a contest; a novel character might need to save the world.Why is it difficult for the character? Difficulties can be divided into three general categories, traditionally called man versus man, man versus nature, and man versus himself. You can even have a combination of these. For example, someone may be trying to spy on some bank robbers (man versus man) during a dangerous storm (man versus nature) when he is afraid of lightning (man versus himself). For our kid with the math test, here's one example: It's important because if he doesn't pass, he'll fail the class, have to go to summer school, and not get to go to football camp, when football is what he loves most. Assuming we create a character readers like, they'll care about the outcome of this test and root for him to succeed.
Our football lover could have lots of challenges — he forgot his study book, he's expected to baby-sit, a storm knocked out the power, he has ADHD, or he suffers test anxiety. But ideally we'll relate the difficulty to the reason it's important. So let's say he has a game Sunday afternoon and is getting pressure from his coach and teammates to practice rather than study. Plus, he'd rather play football anyway.
We now have a situation full of potential tension. Let the character struggle enough before he succeeds (or fails and learns a lesson), and you'll have a story. And if these two questions can pump up a dull premise, just think what they can do with an exciting one!
Fears and Desires
As this exercise shows, conflict doesn't just come from the plot. It comes from the interaction between character and plot. You can create conflict by setting up situations which force a person to confront their fears. If someone is afraid of heights, make them go someplace high. If they're afraid of taking responsibility, force them to be in charge.
You can also create conflict by setting up situations that oppose a person's desires. Sometimes these desires are for practical things. In my middle grade mystery set in ancient Egypt,
The Eyes of Pharaoh
, the main character is a young temple dancer whose one goal is to win an upcoming contest. When her friend disappears, she has to decide if winning the contest is really more important than helping a friend. 
A character's desires can also be more general, related to the way they want to live. In my adult romantic suspense novel,
Rattled
(written as Kris Bock), Erin likes her adventures safely in books. But when she finds a clue to a century-old lost treasure, she's thrust into a wilderness expedition full of dangers from wild animals, nasty humans, and nature itself. If you have a character who craves safety, put her in danger. But if she craves danger, keep her out of it.
Perhaps your character simply wants an ordinary life. In my Mayan historical novel
The Well of Sacrifice
, Eveningstar never dreams of being a leader or a rebel. But when her family, the government, and even the gods fail to stop the evil high priest who is trying to take over the city, she's forced to act. The reluctant hero is a staple of books and movies because it's fun to watch someone forced into a heroic role when they don't want it. (Think of Han Solo in Star Wars.)
Even with nonfiction, you can create tension by focusing on the challenges that make a person's accomplishments more impressive. In JesseOwens: Young Record Breaker (written as M. M. Eboch), I made this incredible athlete's story more powerful by focusing on all the things he had to overcome — not just racism, but also childhood health problems, poverty, and a poor education. I showed his successes and his troubles, to help the reader understand what he achieved.Some writers start with plot ideas and then develop the character who'll face those challenges, while others start with a great character and then figure out what he or she does. Regardless, remember to work back and forth between plot and character, tying them together with conflict.
September 28, 2011
Chat with Fantasy Author Kris Yankee
Today I'm chatting with Kris Yankee, author of the middle grade fantasy novel Saving Redwind.
CE: Tell us a little about Saving Redwind.
KY: Saving Redwind is the story of a young boy who is called to do great things in a world that exists inside his bedroom wallpaper.
CE: Saving Redwind is subtitled "A Wallpaper Adventure." I never thought of wallpaper being particularly adventurous. How did you come up with this idea?
KY: The idea came to me while stripping ugly wallpaper from my oldest son's bedroom wallpaper. We had just moved in and I had never really lived in a house with wallpaper. I started to think about that old saying, "If walls could talk…" and the idea just came to me.
CE: How did you develop your fantasy world? Do you have any tips for readers who write fantasy?
KY: I drew a map of the Redwind so I could remember where things were located. I looked all over the internet for pictures of how I thought the land and the houses/castles would look like. I'm a visual person and not at all creative with drawing. I love Robin Hood, and I sort of made the land the same, but different. World-building is a huge part of fantasy. I suggest that writers really take their time when creating their worlds. I know there are online world-building courses, perhaps take one of those.
CE: When Nick is in the normal world, he has to deal with everyday concerns such as an annoying little sister, a largely absent father, and hockey practice. Why did you choose to include these real-world challenges in your fantasy novel?
KY: Being a kid is busy and hard these days, and I wanted my main character to be a kid that others could identify with. Aren't all little sisters annoying? :-) Many parents work jobs that take them out of the home (or even state) for periods of time, and all of my books involve some sort of hockey element. I know all kids don't play hockey, but I believe that there are a lot of life lessons that can be learned from team sports.
CE: You also co-authored a children's picture book, Tommy Starts Something Big: Giving Cuddles with Kindness. What was it like working with somebody else on a picture book? Would you work with the co-author again?
KY: I loved working on Tommy. I was a lot of fun bouncing ideas around with someone else. Of course I'd work with Chuck again. He has a lot of great concepts and is just a wonderful human being!
CE: How long have you been writing? How did you develop your skills? How did you know you were ready for publication?
KY: I'm not one of those authors who says, "I've been writing my whole life." I can say that I've been reading that long. I've always been a reader. It took me a lot longer to realize that I was also a writer. I didn't take myself seriously until 2004. I realized, though, that I needed help – I couldn't remember much from any of my writing classes! I enrolled in a few online writing courses, became friends with Bonnie Hearn Hill (who became my mentor) and learned a great deal from her. After placing in a writing contest, I figured I was close to publication. It took me a long time to find an agent. I didn't sign with Christine Witthohn of Book Cents Literary Agency until Jan. 2008. I've been working hard to produce manuscripts that she can sell. Hopefully that will happen soon!
CE: Where can readers learn more about your books?
KY: To learn more about me and my books, please visit the Books tab of my website, or my blog.
Thanks so much for hosting me, Chris!
Kris Yankee is a freelance editor and writer. When she's not sitting at her desk creating stories or editing someone else's work, she can be found walking her dogs or perhaps sitting in the ice rink, cheering on her oldest son. Kris co-wrote the 2011 Eric Hoffer Honorable Mention for Children's Picture Books, Tommy Starts Something Big: Giving Cuddles for Kindness with TV Personality, Chuck Gaidica.
CE: Tell us a little about Saving Redwind.
KY: Saving Redwind is the story of a young boy who is called to do great things in a world that exists inside his bedroom wallpaper.
CE: Saving Redwind is subtitled "A Wallpaper Adventure." I never thought of wallpaper being particularly adventurous. How did you come up with this idea?
KY: The idea came to me while stripping ugly wallpaper from my oldest son's bedroom wallpaper. We had just moved in and I had never really lived in a house with wallpaper. I started to think about that old saying, "If walls could talk…" and the idea just came to me.
CE: How did you develop your fantasy world? Do you have any tips for readers who write fantasy?
KY: I drew a map of the Redwind so I could remember where things were located. I looked all over the internet for pictures of how I thought the land and the houses/castles would look like. I'm a visual person and not at all creative with drawing. I love Robin Hood, and I sort of made the land the same, but different. World-building is a huge part of fantasy. I suggest that writers really take their time when creating their worlds. I know there are online world-building courses, perhaps take one of those.
CE: When Nick is in the normal world, he has to deal with everyday concerns such as an annoying little sister, a largely absent father, and hockey practice. Why did you choose to include these real-world challenges in your fantasy novel?
KY: Being a kid is busy and hard these days, and I wanted my main character to be a kid that others could identify with. Aren't all little sisters annoying? :-) Many parents work jobs that take them out of the home (or even state) for periods of time, and all of my books involve some sort of hockey element. I know all kids don't play hockey, but I believe that there are a lot of life lessons that can be learned from team sports.
CE: You also co-authored a children's picture book, Tommy Starts Something Big: Giving Cuddles with Kindness. What was it like working with somebody else on a picture book? Would you work with the co-author again?
KY: I loved working on Tommy. I was a lot of fun bouncing ideas around with someone else. Of course I'd work with Chuck again. He has a lot of great concepts and is just a wonderful human being!
CE: How long have you been writing? How did you develop your skills? How did you know you were ready for publication?
KY: I'm not one of those authors who says, "I've been writing my whole life." I can say that I've been reading that long. I've always been a reader. It took me a lot longer to realize that I was also a writer. I didn't take myself seriously until 2004. I realized, though, that I needed help – I couldn't remember much from any of my writing classes! I enrolled in a few online writing courses, became friends with Bonnie Hearn Hill (who became my mentor) and learned a great deal from her. After placing in a writing contest, I figured I was close to publication. It took me a long time to find an agent. I didn't sign with Christine Witthohn of Book Cents Literary Agency until Jan. 2008. I've been working hard to produce manuscripts that she can sell. Hopefully that will happen soon!
CE: Where can readers learn more about your books?
KY: To learn more about me and my books, please visit the Books tab of my website, or my blog.
Thanks so much for hosting me, Chris!
Kris Yankee is a freelance editor and writer. When she's not sitting at her desk creating stories or editing someone else's work, she can be found walking her dogs or perhaps sitting in the ice rink, cheering on her oldest son. Kris co-wrote the 2011 Eric Hoffer Honorable Mention for Children's Picture Books, Tommy Starts Something Big: Giving Cuddles for Kindness with TV Personality, Chuck Gaidica.
September 23, 2011
Use Powerful Cliffhangers in Quiet Times
Here's part three of my essay on cliffhangers. Get the whole essay, along with lots of other good stuff to make your manuscripts stronger, in
Advanced Plotting
.
Quiet Cliffhangers
If you don't have an action novel, you can still have dramatic chapter endings, whether or not the characters are in physical danger. In a young adult romance, for example, the drama may come from social humiliation at school and awkward or exciting moments with the love interest. Play up those moments for maximum effect.
Not every chapter has to end with a major cliffhanger. Sometimes it feels more natural to end the chapter at the end of the scene, especially if that scene is followed by a jump to a different time and place. You can end in a quieter moment, so long as you're still looking forward. Here's an example from The Amethyst Road, by Louise Spiegler. Serena has been searching for her mother for over 200 pages, believing that her mother will be able to put the family back together. But when she finds her, this happens:
Mother's smile vanished. "But, Serena, how can I help? The Cruelty won't even let me care for my own children." She raised her face to mine. "Look at me. I can hardly help myself, daughter. How can I help you?
This works as a cliffhanger because the response is a challenge to Serena's expectations and hope. What will she do now? The reader will turn the page, wanting to know.
In this example from The Farwalker's Quest, by Joni Sensel, the two main characters have a quiet moment before setting out again on their journey:
They worked out a plan. After Pres left them to sleep, Ariel and Zeke only lay back and gazed at the ceiling. His toes, warm against her calf, seemed to say all that was needed between them. This night in a real bed would be the last for a long time to come.
This looks towards the future, reminding the reader that their troubles are not over.
Cliffhangers are a powerful tool to build suspense. Choose a dramatic moment, expand the moment with sensory details for drama, and use short paragraphs and sentences for impact. You'll keep readers turning the page.
Advanced Plotting is designed for the intermediate and advanced writer: you've finished a few stories, read books and articles on writing, taken some classes, attended conferences. But you still struggle with plot, or suspect that your plotting needs work.
Advanced Plotting can help.
Buy Advanced Plotting for $9.99 in paperback on Amazon or as a $2.99 e-book on Amazon or Smashwords.
Quiet Cliffhangers
If you don't have an action novel, you can still have dramatic chapter endings, whether or not the characters are in physical danger. In a young adult romance, for example, the drama may come from social humiliation at school and awkward or exciting moments with the love interest. Play up those moments for maximum effect.
Not every chapter has to end with a major cliffhanger. Sometimes it feels more natural to end the chapter at the end of the scene, especially if that scene is followed by a jump to a different time and place. You can end in a quieter moment, so long as you're still looking forward. Here's an example from The Amethyst Road, by Louise Spiegler. Serena has been searching for her mother for over 200 pages, believing that her mother will be able to put the family back together. But when she finds her, this happens:
Mother's smile vanished. "But, Serena, how can I help? The Cruelty won't even let me care for my own children." She raised her face to mine. "Look at me. I can hardly help myself, daughter. How can I help you?
This works as a cliffhanger because the response is a challenge to Serena's expectations and hope. What will she do now? The reader will turn the page, wanting to know.
In this example from The Farwalker's Quest, by Joni Sensel, the two main characters have a quiet moment before setting out again on their journey:
They worked out a plan. After Pres left them to sleep, Ariel and Zeke only lay back and gazed at the ceiling. His toes, warm against her calf, seemed to say all that was needed between them. This night in a real bed would be the last for a long time to come.
This looks towards the future, reminding the reader that their troubles are not over.
Cliffhangers are a powerful tool to build suspense. Choose a dramatic moment, expand the moment with sensory details for drama, and use short paragraphs and sentences for impact. You'll keep readers turning the page.
Advanced Plotting is designed for the intermediate and advanced writer: you've finished a few stories, read books and articles on writing, taken some classes, attended conferences. But you still struggle with plot, or suspect that your plotting needs work. Advanced Plotting can help.
Buy Advanced Plotting for $9.99 in paperback on Amazon or as a $2.99 e-book on Amazon or Smashwords.
September 21, 2011
Character and Plot Work Together
My guest today is Andrea J. Wenger, who contributed an essay to my writing book, Advanced Plotting .
The Unity of Character and Plot
Several years ago, at the North Carolina Writers Network conference, I attended a session where the instructor claimed that character is plot. While I understand her point, I think she went too far. Many things happen in our lives that we can't control. In fiction, the response to external events demonstrates character and propels plot. But generally, by the end of the story, the protagonist becomes proactive instead of responsive, and the protagonist's positive action creates the climax.
Character and plot must work in harmony. For the story to be believable, the actions the character takes must be consistent with the character you've created. For instance, imagine if two of Shakespeare's great tragic figures, Hamlet and Othello, were the protagonist in each other's stories. How would those plays go?
Act I, Scene 1: The ghost of the old king tells Othello to avenge the old king's death by killing Claudius.
Act I, Scene 2: Othello kills Claudius.
The End
No story, right? And if Iago hinted to Hamlet that Desdemona were cheating on him, Hamlet would answer, "You cannot play upon me."
For the two plays to work, Othello's hero must be action-oriented, while Hamlet's hero must be introspective.
Keep in mind, though, that when under extreme stress, people (and characters) behave in ways they never would otherwise. In Writing the Breakout Novel , Donald Maass advises novelists to imagine something their character would never think, say, or do — then create a situation where the character thinks, says, or does exactly that. If it's critical to your story that your character behave in uncharacteristic ways, put that character in an environment of increasing stress, until the point that the character's "shadow" takes over.
Isabel Myers, co-author of the Myers-Briggs Type Indicator, defined the shadow function as the least developed part of our personality. Even in the best of times, we may have difficulty using this function in a rational and mature manner. When someone is under stress, and the shadow takes charge, the results can be disastrous.
In your own stories, do character and plot work in harmony? If a character behaves in an uncharacteristic way, be sure to show that the character is under enough stress to make the action believable.
Andrea J. Wenger is professional writer specializing in technical, freelance, and creative writing. Her short fiction has appeared in The Rambler. She is currently working on a women's fiction novel. She blogs and speaks on the subject of writing and personality. She is a regular contributor to Carolina Communiqué, a publication of the Carolina Chapter of the Society for Technical Communication. www.WriteWithPersonality.com.
Get more essay like this one in Advanced Plotting, along with a detailed explanation of the Plot Outline Exercise, a powerful tool to identify and fix plot weaknesses in your manuscripts. Buy Advanced Plotting for $9.99 in paperback on Amazon or as a $.99 e-book on Amazon or Smashwords.
