Kat Duncan's Blog, page 11
December 30, 2012
The Silver Sphere by Michael Dadich
[image error]The Silver Sphere
By
Michael Dadich
BLURB:
Shelby Pardow never imagined she could kill someone. All she wants to do is hide from her troubled father… when she is teleported to awaiting soldiers on the planet Azimuth. Here she is not a child, but Kin to one of the six Aulic Assembly members whom Malefic Cacoethes has drugged and imprisoned. He seeks to become dictator of this world (and then Earth by proxy).
His father, Biskara, is an evil celestial entity, tracked by the Assembly with an armillary device, The Silver Sphere. With the Assembly now deposed, Biskara directs Malefic and the Nightlanders to their strategic targets. Unless….
Can Shelby find the other Kin, and develop courage and combat skills? Can the Kin reassemble in time to release or replace the Assembly, overthrowing Malefic and restraining Biskara?
AUTHOR INFORMATION:
I’ve been writing since first setting pencil to steno pad at age 8. A year later, I began developing the world of my current series-in-progress, and even created its title, The Silver Sphere. Now, with the support of years of experience, those early maps and back stories have progressed into what I hope is a fresh and entertaining take on the classic young adult fantasy adventure.
[image error]
Despite my frequent escapes into parallel worlds, I root myself firmly in my very real family and community. When not pacing the yard maniacally after every few pages of writing, I spend as much time as possible hanging out with my studly 9-year-old son, and my inspirational wife Jenna. I also coach several local youth sports teams in Beverly Hills, and alternate between yelling at my two crazy Corgis and hiking with my trained German Shepherd.
For more, join me in my favorite fantasy worlds, from Lord of the Rings to the creations of C.S. Lewis, Anne McCaffrey and Terry Brooks. Even more importantly, stop by and say hello on my Facebook page at AuthorMichaelDadich, tweet me at @MichaelDadich, and stalk my website at http://www.thesilversphere.org
December 17, 2012
Breaking Out Useful Examples
[image error]Donald Maass started writing advice to writers back in the mid-1990s. He's a published novelist (under a pseudonym) and has a successful career as a literary agent, so I think he has a good background to draw on. Tens of thousands of writers slave away hour after hour trying to write the best novel they possibly can. Mr. Maass asked himself: of those novels that find publication, why do so many of them fall flat in the market? He offers some insights into this in his books, and in my opinion he does one thing better than many others who give writing advice: he uses novels as examples.
Other authors who write about how to write use movies as examples. There's nothing wrong with using movies as examples except that using ONLY movies as examples doesn't ever really get at the heart of good writing. A movie and a novel are two very different mediums for storytelling. Using movies as examples can be a good starting point for discussing several important topics in writing. After all, movies have plots, characters, conflict, scenes, settings, and beginnings, middles, and endings, just like novels do. However, using only movies as examples can cause you to fall into the trap of using screenwriting techniques and terms. Some of these translate well and apply to novels, while others do not. A good screenplay is based on the dramatic elements of timing and visual input. A good novel is based on the dramatic elements of subjective detail and complexity driven by personal imagination.
Novels do not have the luxury of presenting information to the reader on their own fixed time frame. Readers can pick up and put down novels at any point in the story. Yes, I realize you can walk out of a movie and you can hit pause and replay on the DVD player, but typically you do not. Besides, not many read an entire novel in one sitting. As an author, spending time learning techniques of timing such as beats and visual drama that do not translate well into prose makes your novel's success dependent on dialogue and dramatic action. This works for some novels. But very few of these are breakout novels. Breakout novels offer something more than just snappy dialogue and lots of action. They present profound messages that can be interpreted and explored on many levels.
The differences between novels and movies are obvious when a novel gets made into a movie. Certain scenes that work well in the novel do not translate well into the visual format of a movie and novel scenes often have to be pumped up and dramatized to really work in a visual setting. The reverse is also difficult, making a novel out of a movie because it's hard work to develop the words to capture the deeper meanings of the visual action. That's what most authors who use movies as examples are asking you to do. If you are struggling to write a novel, why would you want to make the task that much harder by using only movies as examples?
Mr. Maass's techniques go deeply into the vehicle of prose and its unique qualities. Using modern breakout novels, not the classics that might be a stretch for budding writers, he uncovers the essence of what makes a novel break out: a novel world that feels so real you don't want to leave, characters so memorable you wouldn't be surprised to meet them in person, and a passionate, complex message that will change your reader's way of viewing the world.
Even if you haven't read the novels he refers to (he provides excerpts) you can understand the explanations he gives and try out the writing techniques that could work for you at this point in your career. The techniques also come in several formats to help you make the most of your time.
Join me this coming year for an exciting and worthwhile journey into the breakout novel world. I'm teaching Maass's Breakout Novel Series in 4 Parts: Character Development, Plot Development, Story Techniques and Pitching, and Advanced Breakout Techniques. I have a limited number of Writing the Breakout Novel books and Writing the Breakout Novel Workbooks. If you comment on this post before December 25th, I'll be randomly drawing names to give them away.
Click here to learn more about the Maass workshops I'm teaching at Savvy Authors.
Click here to learn more about all my upcoming workshops.
Happy Holidays!
December 1, 2012
A Mentee's Experience
Please welcome, Raylee Williams, a lovely writing mentee and friend who has agreed to talk a little bit about the mentor/mentee process.
KD: Tell us a little bit about where you are in your writing career and what led you to seek a writing mentor.
RW: I’m working on a m/m romance series. Right now I’m editing the first ms and drafting the second. As for what led me to seek a mentor, I’d say it sort of happened spontaneously. When I made my decision to pursue publication in July of 2010, I began studying craft. So I enrolled in many workshops. I think I was taking one a month. During this time, I was processing tons of information. I was unsure what to keep and what to file under G. I’d even say I began to doubt myself and the story.
I knew Kat through a few past workshops. She was my favourite teacher and a person whose opinion I trusted and respected. When someone began attempting to steer my ms in a different direction, I emailed her for advice. Kat helped me figure out what needed fine-tuning. She never told me what needed fine-tuning. She gave me the tools to figure it out myself. After that I kept emailing her LOL. That’s how my mentorship started.
KD: Did you/do you worry that having a mentor will push you in a direction decided upon by the mentor rather than a direction you'd prefer?
RW: Not with Kat. As I mentioned in the question above, she provides me with guidance. If I’m way off base in my ms, she’ll ask questions. The more questions I answer, the more I find my own answers.
Now being pushed in the mentor’s direction can happen, though. So finding the right mentor is important. What worked for me is I trusted Kat from my first workshop. I was shaking in my boots, wondering if she’d tell me to get out of her grammar workshop and come back when I grew a brain. But she was patient, understanding, and helpful. I knew right then she was the perfect teacher because she wants her students to succeed.
KD: What qualities appealed to you most about having a mentor in general, or Kat specifically?
RW: I’d say it’s more of a connection I share with someone. Kat listens. She doesn’t lead you through the forest. She provides you with the skills and tools so you can guide yourself through the forest. But if you get lost or fall in a swamp, all you have to do is holler her name and she appears, again, offering skills and guidance.
KD: Is being a mentee demanding? Do you feel pressured to live up to what your mentor is asking you to do?
RW: No pressure at all. As a matter of fact, I can’t think of a time when Kat told me to do something LOL. Seriously. She’s never handed me a book and said, “read this first before we get started.” Or, “figure this out and that out and then get back to me.” She lets you set your own pace.
KD: Tell us two specific ways having a mentor has helped your writing.
RW: Just two? Hah. I could list tons. I’d say she helped me develop conflict that will carry a story. I don’t write plot-laden stories, such as saving the galaxy, saving a child, saving a farm, or even saving a cat. My characters’ conflicts drive my stories forward. Every story I’ve written, and I’ve written hundreds, are always about characters saving themselves. I don’t know if that makes any sense. Maybe this comes from years of counselling others? I focus on people overcoming their personal blocks/barriers to achieve happiness/love. Unfortunately, hardly NY Times best-selling material LOL.
Themes/GMC. Again, I was lost here. I kept hearing GMC. What is the theme? Kat helped me here big time. As a matter of fact, just last week I emailed Kat my GMC for my MCs in the third story to review.
KD: Do you feel that your mentor gets as much out of the mentor/mentee relationship as you do? Why or why not?
RW: Yes, Kat does. She told me so. LOL. I sort of compare mentoring to critting, beta-reading, or judging writing contests—I learn a lot when I review another’s work. I probably get more out of critting/reviewing than the person being critted or reviewed.
KD: Do you anticipate moving on from your menteeship or do you hope to continue the mentor/mentee relationship long term?
RW: I hope it continues long-term. To this day, I still send stuff Kat’s way for her opinion. She also lends a great ear. Right now I’m going through writer’s insecurity. A very bad case of writer’s insecurity. I tend to doubt myself a lot.
With Kat, I beta-read one of her novels. When she asked me I was sort of nervous hehe. I was thinking, “She wants my opinion?” Gulp. What am I going to tell Obi-Wan Kenobi? But after I got over my nervousness, I was flattered she trusted my opinion. BTW, it’s an awesome read. And yes, I learned lots reading that novel, too.
KD: Overall would you say having a mentor is a benefit to you as a writer?
RW: Big time. I told my husband the other night that if my first book sees publication, every reader will see the following before they start the first chapter: Thank you, Kat. I couldn’t have done this without your help.
KD: Well, there you go, folks. Aside from the fact that this whole blog makes me blush, it's a good indication that mentoring can be beneficial to budding authors. It's one more way for writers to connect with writers. It's a great way to network and to make new writing friends while learning the ropes of the writing world. Whether you're a potential mentor or potential mentee, this author's experiences say: give it a try!
While we're on the topic, I've got some mentoring options open through Savvy Authors, click here to find out more. I also take on private mentoring projects. So don't hesitate to shoot me an email at kat at katduncan dot net and let me know what you think you need help with. If you're not ready for mentoring, try out one of my workshops. I have a reputation for personalized, gentle, well-explained and genuinely helpful feedback. Click here for a list of my upcoming workshops.
See you in print! -Kat
November 27, 2012
The Beauty and Inspiration of Travel
[image error]
The Beauty And Inspiration Of Travel
Volume I
Coming December 1st!
"Twenty years from now you will be more disappointed
by the things you didn’t do than by the ones you did do.
So throw off the bowlines, sail away from the safe harbor.
Catch the trade winds in your sails.
Explore. Dream. Discover."
-Mark Twain
Travel is the most amazing school of life: It uplifts you, enchants you, captivates you, thrills you, and changes you forever. It guides you toward unimaginable adventures. It brings you new friends and lovers. And it teaches you the most important skill of life: the art of being you.
Twelve passionate travelers have opened their heart and shared their intimate, inspiring, amusing and even quirky views on travel, encouraging you to open your mind and soul to the magic of faraway journeys.
The Beauty and Inspiration of Travel is a heartwarming book filled with wanderlust, gusto and joy of life. A perfect book for those who seek to spice up their life, find their next adventure, or just dream of their perfect place over a hot cup of tea.
Participating Authors (in alphabetical order):
Kathryne Arnold
Shobhan Bantwal
Angela Butler
Barbara Conelli
Kat Duncan
Patty Friedmann
Lyn Fuchs
Nicki J. Markus
Valerie Ormond
Patricia Sands
Susan Van Allen
Victoria Vetere
October 10, 2012
Passive Passion
Well, let's go back and re-examine what parents do with their resistant offspring. They coax or cajole. Both of these appeal to the sympathies of the child. The child might cooperate if it feels sympathy for the parents' plight. They also threaten. The child might cooperate if it fears the punishment or the loss of privilege. All of these have one thing in common. Emotional impact. Therefore, we must find ways to hit the reader with an emotional impact that compels them to want to cooperate. While I can imagine lots of pre-pubbed and mid-list writers hoping editors or agents will feel the fear of missing out on the next bestseller, I'm having trouble figuring out how to strike fear in the hearts of the general reader. At least short of having a writer break his leg in some remote place inhabited by an insane fan...does that sound too familiar?
Anyway, back on topic. Hit the reader in the emotional gut. I'm sure you've heard this advice before. There are so many ways to do this that it boggles the mind to think of them. And boggled minds cannot write decent stories. So, instead of allowing yourself to get boggled, I have one simple, specific suggestion for you.
Think about what you do for society. Most of us are not champions of social causes at the national and international levels, yet many of us care deeply about them. If we were independently wealthy perhaps we would be philanthropists of some kind. Or if we had no family to occupy our energy reserves, perhaps we would be active volunteers for an important cause. As it is we may spend some of our weekly energies on social causes by volunteering, donating money, or other forms of support. Think about the social causes you personally support (or would support if you had the energy, time or money). Now imagine yourself having a conversation with someone you just met. You want this person to like you; perhaps they will even become a good friend. Or at least buy a copy of your latest book.
If you mention your passion, your interest in, or support for a local, national or international cause, what do you imagine your companion's reaction would be? Would they just nod and move the conversation along, gasp and inwardly recoil while putting forth a bland expression, or would they tilt their head and say, "Interesting. Tell me more." (Hint: the last reaction is the one you want.)
Now think about how you can get them to that last reaction. It's all in the presentation. Depending on what type of cause you support, you might want to mention it in a casual way, or you might want to take an active approach anywhere from drawing their attention to a t-shirt or button, inviting them to a meeting or even something wildly passionate such as handing out brochures in public.
Next, find a way to weave this aspect into your novel. At the very basic level you will create characters who care about something. And characters who care attract readers who also care or who learn to care. For an extra added bonus, consider this: many novelists have difficulty creating public stakes for their conflicts. Their protagonists may exist in a small town world, mostly unaware of global issues. However, even in these circumstances heroes and champions can support a cause: family, community, tolerance, and charity, to name a few. Public stakes don't have to be represented by saving the entire world from disaster, or overcoming an evil villain. They can be represented by a protagonist's personal inner commitment to something that affects society in general, or that reflects society in general because it is a belief that is much closer to home.
Lots more info and specific techniques on ways to give your writing emotional appeal coming up in the Developing Active Voice for Emotional Impact workshop starting November 12, 2012 with Savvy Authors. Register here!
October 1, 2012
Deja Vu for Your Readers
Déjà vu literally means "already seen", but the true sense of the phrase has to do with coming across something that looks or feels familiar, but you can't exactly recall when or where you've seen it or felt it. A person experiencing déjà vu is tantalized with hints of remembrance that hovers just out of the reach of conscious thought. It's an interesting phenomenon, and one that writers can take full advantage of. When readers read your story and encounter a situation, setting, character or conflict that implies a connection with their own experience, they are not experiencing déjà vu (because they can remember their prior experience) but they are engaging with your story, which is something all writers should strive for. Whether readers have connected with your story yet or not, you can exploit the promise of déjà vu in several ways to help them along that road.
The first and simplest way is with repetition. Classic humor theory says that jokes work because of the pattern of repetition. A common method for jokes is to repeat a similar story twice and then tell the punchline when repeating the story for the third time. For example:
Three guys are stuck on a deserted island, when one of them finds a lamp on the beach. He picks it up and gives it a little rub and a genie pops out. The genie looks at the three guys and says: "I normally give three wishes, but since there are three of you, I will grant each of you one wish." Well, the first guy is sick and tired of being on the island, so he wishes to go back home. POOF!!! He disappears. The second one said he, too, is tired of the island, and wishes to go home. POOF!!! He too disappears. The genie then turns to the last guy and asks him what his wish is. "Gee," he says," I'm awfully lonely here by myself. I wish my friends were still here!"
Even if you don't have comedy or jokes in your stories, pay attention to how the punchline got set up here. By the time the genie turns to the third guy, we are eager to find out what he'll say. Repetition, threaded through your story can make your readers anticipate the punchline even if it isn't a joke.
Second, you can get a lot of mileage out of symbols or leitmotivs, objects or ideas that thread through your story and resonate with your readers. The classic example is a ring or piece of jewelry that a nervous character turns around and around. Every time he turns it, we know he's anxious without the author telling us he is. Leitmotivs are themes that repeat, such as a character who loves chocolate, hates dogs, or collects glass unicorns. Whatever unique symbol or theme is connected to the character can be used and exploited to keep readers engaged with the story and feeling as if they know the character like a best friend.
[image error]
Third, theme. The overall theme for your story should come through in strong, nearly explicit ways. If your story is about "love conquers all" or "suffering is punishment for wrongdoing" or "cheaters never prosper" make sure there are a lot of scenes that resonate that theme and point it out to the reader.
Fourth, subplots. Subplots work like déjà vu in your story. They bring out themes and remind readers of the different interpretations of events and ideas. They feel coincidental to the characters and the readers, but they are very purposeful and take some work and craft to put into place properly. One easy way you can connect with the technique of subplots is to notice things happening in your own life. For example, suppose you are in the market for a new car. As you start looking at cars, say you walk around one or two dealers' lots on Sunday afternoon. Then, all week long as you are driving you suddenly realize the models you looked at are popping up everywhere. Why? You never noticed them before, did you? No. You're noticing them because your recent awareness of them has been raised. You had a visit last weekend from your very pregnant first cousin. For the next 2-3 weeks you notice pregnant women everywhere and wonder when their babies will be due. Use this technique to your advantage in your story. Once you introduce a subplot, refer to it again and again in subtle ways until the main plot is riddled with references to things in the subplot. That's a cheap and easy way to ensure that the two (or more) subplots feel "woven" into the main story.
Like Yogi Berra said, "It's deja vu all over again."
September 21, 2012
Guest Blogging September 21st 2012
I'm guest-blogging today over at Romance, She Wrote with Maggie Blackbird. We're talking about, no actually we're joking around about grammar. Stop by and say hi!
http://maggieblackbird.wordpress.com/2012/09/21/grammar-is-no-joking-matter/
July 29, 2012
Simple Rxs for Your Ailing Story Chat
Set the date:
Wednesday, September 12th. 9pm Eastern US time. Savvy Authors chatroom. Click here to register. It's free!!!!
Simple Rxs for Your Ailing Story
You started with a great idea, worked hard on your draft and polished it, but it's not living up to your expectations. In fact, it's looking a bit green around the gills. Kat will share and discuss how to use a few simple, but powerful, ideas to perk up your story if it's feeling under the weather.
Simle Rxs for Your Ailing Story Chat
Set the date: Wednesday, August 29th. 9pm Eastern US time. Savvy Authors chatroom. (detailed link coming soon...)
Simple Rxs for Your Ailing Story
You started with a great idea, worked hard on your draft and polished it, but it's not living up to your expectations. In fact, it's looking a bit green around the gills. Kat will share and discuss how to use a few simple, but powerful, ideas to perk up your story if it's feeling under the weather.
Rx for Your Ailing Story
The doctor is in! :) Here's some details from our chat last night. And today, there's a new blog of mine on Savvy Authors, check it out here!
[image error] Conflict versus Struggle
Dx: You have conflict, really good conflict, but are you spending enough time on the struggle against that conflict? Rx: Don't spend a lot of story time summarizing or discussing the conflict itself. If you have scenes in which characters need to explain the conflict with internal monologues or discussions with other characters, try changing these into arguments and confrontations. The conflict will be delivered to the reader in a clear and engaging way. Do spend lots of story time on the struggle itself. Once the conflict is introduced, readers need to know more details about the conflict, but they should be able to get those details by watching the characters struggle, not simply by learning facts as events unfold. Every fact, every new detail should come out of a struggle.
Highlight the aspects of the struggle by spending lots of scene time on it. For example, your character's conflict is to take back what was stolen from his family. Spend scene time showing him struggling to figure out what happened to the goods and where they are now, scene time showing his struggle to get to the stolen goods, scene time showing him struggle to finally locate the goods, scene time showing him struggle to take possession of the goods, scene time showing him struggle when trying to leave with the goods, scene time showing him being forced to choose between the goods and something else he cares about, scene time questioning whether the goods are, in fact, truly his, scene time showing the value of those goods to him, scene time showing the value of those goods to the people who stole them, etc. Nothing should be easy. The story is made up of scenes that show him struggling with the conflict in many different ways.
Introspection versus Immediacy
Dx: You've got a great story idea, but the story lacks tension
Rx: Immediacy, even the smallest kind, keeps tension on the page. By immediacy I don't mean characters are running for their lives every second. Immediacy means the character needs to do or to get or to face something right now or very soon. He needs this thing or must do this thing or must face this thing in order to resolve the conflict. He may or may not want to do this thing, but he's responsible for doing it. And in the process of doing it, he may not succeed. To practice this, take the tiniest most mundane detail in your life and imagine what it would be like if you didn't succeed with it. Grocery shopping. You never make it to the store. The store is closed. They don't have the products you need. No milk. No bread. No eggs. What will you feed your hungry family? It's your job. You need to do it. What will you do? Do have the character think about it and share some of that with the reader, but don't have the character spend loads of time just thinking about it. They must do something. Right now! Try another store? Borrow from the neighbors? Back to your character: what small thing must he do right now to solve the conflict, either directly or indirectly? What could prevent him from doing it? Think small. Small is easy to imagine. Small is profound when properly thought out and worked into the fabric of the story.
That was Now, This is Future
Dx: You're showing what's happening now without mentioning or emphasizing what will happen next. Rx: Scenes should be in the present, showing what's happening now so readers can enjoy living through the experiences with the characters. But they should also emphasize what will happen next. What will be the effects of a decision a character makes, the outcome of a confrontation, or an expected event? The now should be full of tension, but most of that tension will come from the effects of what's happening now. The reader will worry in the moment what the decision will be because of what might happen due to that decision. Example: if Susie doesn't get to the store, her little twins will have no supper, they will cry and cry until they fall asleep, exhausted and hungry.
Focus on the tension and a sense of something impending. The usual advice is to think of the worst that can happen. That's terrible advice, because it steps over lots of lovely things you can use to build tension. Often the worst that can happen is not realistic, making readers doubt the story's reality. The worst that can happen might be that Susie gets no food at all. But what if she gets some food, it's just not enough? What if she has to choose between feeding herself and feeding her children? That's not the worst, but it's still pretty bad. What if she gets barely enough food for today, but is now certain that there will be absolutely none for tomorrow. Focusing on what's happening now is good. Projecting trouble into the future is better.
Highlight a character's unfulfilled intention. What your character is doing now is interesting and engaging and may keep readers going for a time, but what is your character planning to do later, tomorrow, next week? Writers are advised to hold back, don't reveal too much too soon. Keep the reader guessing. Perhaps. Keep the reader guessing about what might happen, but why keep the reader in the dark about what the character intends to do? Susie knows there'll be no food tomorrow. She's putting her babies to bed. Is she going to spend half the night wondering what will happen to her family? No. She's already plotting. She noticed a neighbor loading his truck with food. She could sneak into his house and steal some, seduce the neighbor in return for some food, offer to cook or clean or simply beg. She could forage in the woods, apply for food stamps, call distant relatives for help. She must get food, and somehow she will.
