Pen's Blog
April 27, 2014
Novel in Progress: Nero's Fiddle
The characters in Nero’s Fiddle are issued the challenge to get to Washington, DC within 25-30 days to stop a disastrous incident. They must walk almost the entire 600 miles.
Thus far, the novel stands at 60,000 words. The characters in Nero’s Fiddle are close to halfway to their destination. One of the characters has disappeared. His disappearance is on purpose: to allow the story to focus on Captain Beverly Mossberg (former military), her two kids and the tagalong stranger, Sedona and the relationship between the four, particularly the relationship between Bev and her kids.
I recently encountered a dilemma in the writing. I wanted a particular reaction from the lead character, Bev. However, the reaction I wanted would leave her children thinking her a coward.
The scenario: Bev encounters no fewer than a dozen men molesting a young woman. All men are carrying guns. Bev has her own gun and is an expert markswoman but the odds are not in her favor. As with most women (including myself), her initial gut reaction is to charge into the fray, gun blazing. Doing that however would risk the lives of her children as well as risk making them orphans. There’s no help in sight: Sedona is akin to Don Knotts in The Shakiest Gun in the West and there’s no way to call for help.
Initially, I wanted Bev to reluctantly walk away, feeling it was the only way to protect her children. The more I considered that option the more I realized how unsatisfying it was. It would create a great deal of conflict between Bev and her kids, especially her twelve year old daughter, which would make for great drama, but it didn’t present Bev as the kick-ass solider I knew her to be.
I asked a few women their opinion of the situation and what they would do. Most of them found it as problematic as I did. Their initial gut reaction was to start a gunfight but, with kids in tow, they’d be afraid to. All of them were opposed to the idea of walking away but none of them would put their children’s lives at risk by attacking the men first. All of them felt, as I did, there had to be a viable solution.
I did what I always do when faced with such an enigmatic dilemma: I sat on it for a few days and asked my muse to work on it for me.
My muse came through. Yes, Bev initially is going to walk away. But one of the men stumbles upon her and the others when he walks into the woods to relieve himself. When the man threatens her daughter, Cap’n Mossy is forced to react. Her actions not only enable the girl to get away, she also takes care of the threatening men. In addition, the solution presented to me by my muse allowed me to satisfy my desire to have Bev blow something up. (Make no mistake, Bev wanted to blow something up, too).
And that’s all I’m going to reveal about that.
It pays to ask the muse for help: to stand down from the writing even if for only a short period of time. It’s that subconscious thing at work again: that part of the brain that works non-stop on whatever dilemmas we’re facing and sometimes offers us solutions to difficult situations.
I just need to train it to work that way in real life.
Thus far, the novel stands at 60,000 words. The characters in Nero’s Fiddle are close to halfway to their destination. One of the characters has disappeared. His disappearance is on purpose: to allow the story to focus on Captain Beverly Mossberg (former military), her two kids and the tagalong stranger, Sedona and the relationship between the four, particularly the relationship between Bev and her kids.
I recently encountered a dilemma in the writing. I wanted a particular reaction from the lead character, Bev. However, the reaction I wanted would leave her children thinking her a coward.
The scenario: Bev encounters no fewer than a dozen men molesting a young woman. All men are carrying guns. Bev has her own gun and is an expert markswoman but the odds are not in her favor. As with most women (including myself), her initial gut reaction is to charge into the fray, gun blazing. Doing that however would risk the lives of her children as well as risk making them orphans. There’s no help in sight: Sedona is akin to Don Knotts in The Shakiest Gun in the West and there’s no way to call for help.
Initially, I wanted Bev to reluctantly walk away, feeling it was the only way to protect her children. The more I considered that option the more I realized how unsatisfying it was. It would create a great deal of conflict between Bev and her kids, especially her twelve year old daughter, which would make for great drama, but it didn’t present Bev as the kick-ass solider I knew her to be.
I asked a few women their opinion of the situation and what they would do. Most of them found it as problematic as I did. Their initial gut reaction was to start a gunfight but, with kids in tow, they’d be afraid to. All of them were opposed to the idea of walking away but none of them would put their children’s lives at risk by attacking the men first. All of them felt, as I did, there had to be a viable solution.
I did what I always do when faced with such an enigmatic dilemma: I sat on it for a few days and asked my muse to work on it for me.
My muse came through. Yes, Bev initially is going to walk away. But one of the men stumbles upon her and the others when he walks into the woods to relieve himself. When the man threatens her daughter, Cap’n Mossy is forced to react. Her actions not only enable the girl to get away, she also takes care of the threatening men. In addition, the solution presented to me by my muse allowed me to satisfy my desire to have Bev blow something up. (Make no mistake, Bev wanted to blow something up, too).
And that’s all I’m going to reveal about that.
It pays to ask the muse for help: to stand down from the writing even if for only a short period of time. It’s that subconscious thing at work again: that part of the brain that works non-stop on whatever dilemmas we’re facing and sometimes offers us solutions to difficult situations.
I just need to train it to work that way in real life.
April 21, 2014
Create a Book Trailer for Under $50
Book Trailers are a valuable marketing and promotion tool, especially for self-published and independent writers. Creating your own book trailer doesn’t have to be expensive.
I recently got burned when I hired someone to create a book trailer for me. I ordered and paid for the trailer in February, 2014. As of April, 2014 I have not received the book trailer and repeated contact with the woman goes unacknowledged. Even though she has a lot of Internet presence, I doubt I will ever hear from her or receive a book trailer and I’m out the money I sent her.
That said, I decided to create my own. Why didn’t you just do that to begin with? you may ask. Quite honestly, I wasn’t confident in my ability to make one and to make it look professional. I am the world’s biggest techno-clod and did not believe in my own capabilities. That, and try finding an image of a gold sword that can be used and doesn’t cost an arm and a leg.
Once I decided to create my own book trailer I was delighted to learn a great many things, including the fact that I am perfectly capable of producing something aesthetically appealing as well as a video which presents my book in a professional light. Allow me to take you step by step through the process I used to create my book trailer.
CONTENT
Make a list of about a half-dozen to a dozen highlights from your book. Use a few words to get big ideas across. This will help strengthen your writing as well as force you to seriously contemplate the most important aspects of your book.
I created a total of ten highlights of my novel for my trailer. Here are three very important aspects of the Sword of Tilk Book One: Worlds Apart:
Barbara Neely wakes up one morning in a different world
She must wield the golden Sword of Tilk to defeat Balfourant, enemy of the Realm
When Balfourant kidnaps her daughter, Barbara must conquer her own demons to save her
I broke down the aspects even further and added a few more relevant highlights to tell the reader a little more about what Barbara experiences.
IMAGES
While you are making that list of your book’s highlights, consider images you would like to use to enhance those highlights.
If you are artistic you can create the images yourself with artwork or photography. If you’re like me, you may need to scour the Internet in search of images that are copyright free, royalty free and not too costly.
Two websites offer royalty/copyright free images for unlimited use: www.morguefile.com and www.pixabay.com. Both sites have a large selection of images; however, their selection can sometimes be limited in scope.
Wikicommons (www.commons.wikimedia.org) is also a source for free images as long as you stick with images in public domain. That way you don’t have to worry about licensing, sharing and the like.
Three top websites with images for use are Dreamstime (www.dreamstime.com), IStock (www.istockphoto.com) and Shutterstock (www.shutterstock.com). These images are at a price. All three sites have two different ways to pay: 1) Purchase credits or 2) Subscription. Each photo on the sites is worth a certain number of credits. By purchasing the credits you then get an image and the credits it is worth is deducted from your purchased credits. Purchase a subscription and you are allowed to download a certain number of images within a specific time period.
I suggest going with Dreamstime which is where I was finally able to find an image of a gold sword. The cost is $39 for 5 images within a one-week time period and this is the best deal if you only need a few images. I was able to find five images which I felt were appropriate for my trailer.
PUTTING IT TOGETHER
If you have Windows on your computer (who doesn’t?) then you have Windows Live Movie Maker. It’s actually a fun little program to play with.
Begin by uploading just a few images and text. Each time you need to add a new frame, click on Title in the tool bar. To add images, click on Add videos and photo. Once you have added the photo, click on Caption to add text.
Now you get to have some fun.
For the images, click on Animations. This will give you a selection of “special effects” for your image. Dissolves, transitions, patterns and reveals are just a few of the effects you can add to each of your images. Also under Animations you’ll find Pan and Zoom to further enhance your images. Both can be combined to really make your image pop. Be aware, however, that not all Animation choices will be available for the very first frame of your movie. I believe the program assumes the first frame is the title frame and effects for that particular frame are limited.
Text can also be manipulated by clicking on Text Tools. You can scroll it, zoom it, swing it or fly it. Try different combinations to see which text effect works best with the animations on your images. Don’t be afraid to experiment. You might be surprised at what you come up with.
SOUNDTRACK
A book trailer is nothing without the proper musical accompaniment. Again, if you are capable of creating your own music or have a friend who can do that for you, by all means create away. One more aspect of your creativity you can display is always a good thing.
There are quite a few free music websites out there but the trouble is the selection is limited. I have yet to find truly “free” music which would serve as good accompaniment to my trailers. I used Melody Loops (www.melodyloops.com). Most of the music they have available only costs $10 which isn’t much if you think about it. They have a huge variety of music which you can use as you wish and you can give it a listen before you buy. The site also allows you to “loop” the musical selection so it will match the length of your video. Or you can choose “Fit to music” in your Windows Live Movie Maker (under the Project tab) so the video matches the length of the music. When you download the music, be sure to save it in a place where it is easily accessible.
Here is the really tricky part: sometimes the music doesn’t work well with the video. It’s a good idea to download Freemake Audio Converter (www.freemake.com/free_audio_converter/ - it’s FREE) and convert those music files to mp3 or wav. Try each one because the wav worked best for mine. Even if the original file is already in mp3 use the converter and convert it to mp3. This works out any glitches in the download and the music flows more smoothly. Using the original file without converting it through Freemake sometimes causes the track to “break” in places it isn’t supposed to break.
Click Add Music on the Home tab and select the music file. Click Fit to Music if the soundtrack runs short or long. This will increase or decrease the amount of time each frame slides by so the music and images coincide.
REVIEW YOUR VIDEO
Watch your completed video. Several times. Watch your pans, zooms, and transitions closely to make sure they flow smoothly. Read your text and then read it again to catch any errors and to be certain it is coherent. Watch both the images and the text until you are confident they work well together and present your book in its best light.
THE MATH
Let’s do the math: $39 for images (which works out to a little less than $8 per image), $10 for music. That’s a total of $49 to create my own book trailer. That is about one-fourth of what I paid to have one created and a fraction of the cost of most trailer production sites I have visited.
If you use your own images and music, it pretty much won’t cost you a thing. That’s even better than $49!
A FEW EXTRA TIDBITS
Now that your book trailer is complete you’ll want to upload it to YouTube, Vimeo, Goodreads and any other sites which will allow you to upload it. Before you do, you must save it in the proper format.
To do this, click on the icon in the upper left corner of the Movie Maker screen. Choose “Save Movie” and “Recommended for this Project” at the very top of the choice list. Save it in a location where it is easily accessible. You are now ready to upload your video. Be forewarned: it takes forever for the video to upload. So once you click the “upload” button on the site you’re uploading to you can pretty much start a load of laundry, clean your bathroom, brush your teeth and get dinner started before it is completed. You could probably color your hair and wash the dog while you’re at it.
Also, when you add a frame in Movie Maker by clicking on Title in the tool bar, don’t be surprised if the frame appears prior to a frame you’ve just created. For some reason, that’s how it works. You may also encounter some extra blank frames tossed in. Delete the frames you don’t need and move the frames around in the order you want them to appear.
Keep the trailer short and sweet. Ninety minutes is probably the max you’ll want to do for a book trailer. If you’re doing a trailer with a more poignant or specific message, two minutes, tops.
If a techno-clod like me can create my own book trailer, anyone can. Save yourself time, money and lots of aggravation by giving it a try.
The videos I have created aren’t bad. My ideal would be to have them actually filmed but film costs are far and beyond my budget. Check out the links below to see each video:
Sword of Tilk Book One: Worlds Apart
http://youtu.be/uxTa6cIrteI
Journey of the Heart
http://youtu.be/1LZGqBpJRvY
I recently got burned when I hired someone to create a book trailer for me. I ordered and paid for the trailer in February, 2014. As of April, 2014 I have not received the book trailer and repeated contact with the woman goes unacknowledged. Even though she has a lot of Internet presence, I doubt I will ever hear from her or receive a book trailer and I’m out the money I sent her.
That said, I decided to create my own. Why didn’t you just do that to begin with? you may ask. Quite honestly, I wasn’t confident in my ability to make one and to make it look professional. I am the world’s biggest techno-clod and did not believe in my own capabilities. That, and try finding an image of a gold sword that can be used and doesn’t cost an arm and a leg.
Once I decided to create my own book trailer I was delighted to learn a great many things, including the fact that I am perfectly capable of producing something aesthetically appealing as well as a video which presents my book in a professional light. Allow me to take you step by step through the process I used to create my book trailer.
CONTENT
Make a list of about a half-dozen to a dozen highlights from your book. Use a few words to get big ideas across. This will help strengthen your writing as well as force you to seriously contemplate the most important aspects of your book.
I created a total of ten highlights of my novel for my trailer. Here are three very important aspects of the Sword of Tilk Book One: Worlds Apart:
Barbara Neely wakes up one morning in a different world
She must wield the golden Sword of Tilk to defeat Balfourant, enemy of the Realm
When Balfourant kidnaps her daughter, Barbara must conquer her own demons to save her
I broke down the aspects even further and added a few more relevant highlights to tell the reader a little more about what Barbara experiences.
IMAGES
While you are making that list of your book’s highlights, consider images you would like to use to enhance those highlights.
If you are artistic you can create the images yourself with artwork or photography. If you’re like me, you may need to scour the Internet in search of images that are copyright free, royalty free and not too costly.
Two websites offer royalty/copyright free images for unlimited use: www.morguefile.com and www.pixabay.com. Both sites have a large selection of images; however, their selection can sometimes be limited in scope.
Wikicommons (www.commons.wikimedia.org) is also a source for free images as long as you stick with images in public domain. That way you don’t have to worry about licensing, sharing and the like.
Three top websites with images for use are Dreamstime (www.dreamstime.com), IStock (www.istockphoto.com) and Shutterstock (www.shutterstock.com). These images are at a price. All three sites have two different ways to pay: 1) Purchase credits or 2) Subscription. Each photo on the sites is worth a certain number of credits. By purchasing the credits you then get an image and the credits it is worth is deducted from your purchased credits. Purchase a subscription and you are allowed to download a certain number of images within a specific time period.
I suggest going with Dreamstime which is where I was finally able to find an image of a gold sword. The cost is $39 for 5 images within a one-week time period and this is the best deal if you only need a few images. I was able to find five images which I felt were appropriate for my trailer.
PUTTING IT TOGETHER
If you have Windows on your computer (who doesn’t?) then you have Windows Live Movie Maker. It’s actually a fun little program to play with.
Begin by uploading just a few images and text. Each time you need to add a new frame, click on Title in the tool bar. To add images, click on Add videos and photo. Once you have added the photo, click on Caption to add text.
Now you get to have some fun.
For the images, click on Animations. This will give you a selection of “special effects” for your image. Dissolves, transitions, patterns and reveals are just a few of the effects you can add to each of your images. Also under Animations you’ll find Pan and Zoom to further enhance your images. Both can be combined to really make your image pop. Be aware, however, that not all Animation choices will be available for the very first frame of your movie. I believe the program assumes the first frame is the title frame and effects for that particular frame are limited.
Text can also be manipulated by clicking on Text Tools. You can scroll it, zoom it, swing it or fly it. Try different combinations to see which text effect works best with the animations on your images. Don’t be afraid to experiment. You might be surprised at what you come up with.
SOUNDTRACK
A book trailer is nothing without the proper musical accompaniment. Again, if you are capable of creating your own music or have a friend who can do that for you, by all means create away. One more aspect of your creativity you can display is always a good thing.
There are quite a few free music websites out there but the trouble is the selection is limited. I have yet to find truly “free” music which would serve as good accompaniment to my trailers. I used Melody Loops (www.melodyloops.com). Most of the music they have available only costs $10 which isn’t much if you think about it. They have a huge variety of music which you can use as you wish and you can give it a listen before you buy. The site also allows you to “loop” the musical selection so it will match the length of your video. Or you can choose “Fit to music” in your Windows Live Movie Maker (under the Project tab) so the video matches the length of the music. When you download the music, be sure to save it in a place where it is easily accessible.
Here is the really tricky part: sometimes the music doesn’t work well with the video. It’s a good idea to download Freemake Audio Converter (www.freemake.com/free_audio_converter/ - it’s FREE) and convert those music files to mp3 or wav. Try each one because the wav worked best for mine. Even if the original file is already in mp3 use the converter and convert it to mp3. This works out any glitches in the download and the music flows more smoothly. Using the original file without converting it through Freemake sometimes causes the track to “break” in places it isn’t supposed to break.
Click Add Music on the Home tab and select the music file. Click Fit to Music if the soundtrack runs short or long. This will increase or decrease the amount of time each frame slides by so the music and images coincide.
REVIEW YOUR VIDEO
Watch your completed video. Several times. Watch your pans, zooms, and transitions closely to make sure they flow smoothly. Read your text and then read it again to catch any errors and to be certain it is coherent. Watch both the images and the text until you are confident they work well together and present your book in its best light.
THE MATH
Let’s do the math: $39 for images (which works out to a little less than $8 per image), $10 for music. That’s a total of $49 to create my own book trailer. That is about one-fourth of what I paid to have one created and a fraction of the cost of most trailer production sites I have visited.
If you use your own images and music, it pretty much won’t cost you a thing. That’s even better than $49!
A FEW EXTRA TIDBITS
Now that your book trailer is complete you’ll want to upload it to YouTube, Vimeo, Goodreads and any other sites which will allow you to upload it. Before you do, you must save it in the proper format.
To do this, click on the icon in the upper left corner of the Movie Maker screen. Choose “Save Movie” and “Recommended for this Project” at the very top of the choice list. Save it in a location where it is easily accessible. You are now ready to upload your video. Be forewarned: it takes forever for the video to upload. So once you click the “upload” button on the site you’re uploading to you can pretty much start a load of laundry, clean your bathroom, brush your teeth and get dinner started before it is completed. You could probably color your hair and wash the dog while you’re at it.
Also, when you add a frame in Movie Maker by clicking on Title in the tool bar, don’t be surprised if the frame appears prior to a frame you’ve just created. For some reason, that’s how it works. You may also encounter some extra blank frames tossed in. Delete the frames you don’t need and move the frames around in the order you want them to appear.
Keep the trailer short and sweet. Ninety minutes is probably the max you’ll want to do for a book trailer. If you’re doing a trailer with a more poignant or specific message, two minutes, tops.
If a techno-clod like me can create my own book trailer, anyone can. Save yourself time, money and lots of aggravation by giving it a try.
The videos I have created aren’t bad. My ideal would be to have them actually filmed but film costs are far and beyond my budget. Check out the links below to see each video:
Sword of Tilk Book One: Worlds Apart
http://youtu.be/uxTa6cIrteI
Journey of the Heart
http://youtu.be/1LZGqBpJRvY
March 30, 2014
Audiobooks Can Help You Write Better
How can listening to an audiobook help improve your writing?
Truth be told it never occurred to me that it could be a useful tool. Until one day while working on the Sword of Tilk Trilogy I realized I could hear the narrator of the audiobook I was listening to at work read the book as I wrote it.
This gave me pause.
I visualize each scene and snippet of dialogue before and as I write it. It had never occurred to me to hear it as it might be read for an audiobook.
I found that I liked it.
Hearing someone else read it helped me to determine where the emphasis lay. It helped me find areas which needed strengthening as well as areas which might require a lighter touch.
It gave greater voice to my characters. Just as visualizing helps to describe them, listening to the reader in my head helped me hear the cadence and rhythm of their voices. This in turn helped me see and better describe their facial expressions and body movements.
It was also beneficial in writing action and descriptive passages. A good, professional audiobook reader is capable of intensifying those moments with as much emotion and drama as when reading dialogue.
It brings yet another dimension to writing and breathing life into your writing. That which heightens your writing experience will be passed on to the reader experience.
Truth be told it never occurred to me that it could be a useful tool. Until one day while working on the Sword of Tilk Trilogy I realized I could hear the narrator of the audiobook I was listening to at work read the book as I wrote it.
This gave me pause.
I visualize each scene and snippet of dialogue before and as I write it. It had never occurred to me to hear it as it might be read for an audiobook.
I found that I liked it.
Hearing someone else read it helped me to determine where the emphasis lay. It helped me find areas which needed strengthening as well as areas which might require a lighter touch.
It gave greater voice to my characters. Just as visualizing helps to describe them, listening to the reader in my head helped me hear the cadence and rhythm of their voices. This in turn helped me see and better describe their facial expressions and body movements.
It was also beneficial in writing action and descriptive passages. A good, professional audiobook reader is capable of intensifying those moments with as much emotion and drama as when reading dialogue.
It brings yet another dimension to writing and breathing life into your writing. That which heightens your writing experience will be passed on to the reader experience.
March 17, 2014
Inspiring the Reader
You want to inspire a reader to read your book and tell everyone else about it. But that's not the only way you want to inspire the reader.
You want to inspire the reader to think: think about what you've written what your characters have endured and possibly how it could affect their lives.
You do this by having characters who change their own lives.
For instance, if your character begins as a struggling musician and ends up winning a Grammy, facing and overcoming every challenge in between, your reader may be inspired to follow her or his own creative career.
Barbara Neely is the lead character in my Sword of Tilk Trilogy. In Book One: Worlds Apart, she struggles to take care of herself, her daughter and her foster grandmother; she doesn’t even have the confidence to stand up to her boss. By Book Three: At Sword’s End she is quite comfortable being one of the Queens of the Tilk Realm. And it was quite the journey she made to reach that point.
You inspire the reader by showing her or him what is possible. Providing them with the steps a character takes to reach her or his destination may very well give the reader ideas about how to reach her or his own destinations.
Not everything you write is going to inspire everyone. But if you inspire even only ONE person, you are doing what you are meant to do.
You want to inspire the reader to think: think about what you've written what your characters have endured and possibly how it could affect their lives.
You do this by having characters who change their own lives.
For instance, if your character begins as a struggling musician and ends up winning a Grammy, facing and overcoming every challenge in between, your reader may be inspired to follow her or his own creative career.
Barbara Neely is the lead character in my Sword of Tilk Trilogy. In Book One: Worlds Apart, she struggles to take care of herself, her daughter and her foster grandmother; she doesn’t even have the confidence to stand up to her boss. By Book Three: At Sword’s End she is quite comfortable being one of the Queens of the Tilk Realm. And it was quite the journey she made to reach that point.
You inspire the reader by showing her or him what is possible. Providing them with the steps a character takes to reach her or his destination may very well give the reader ideas about how to reach her or his own destinations.
Not everything you write is going to inspire everyone. But if you inspire even only ONE person, you are doing what you are meant to do.
February 26, 2014
La-Ti-Do
Do a deer a female deer
Re a drop of golden sun
Mi a name I call myself
Fa a long long way to run
So a needle pulling thread
La a note to follow So
Can you imagine writing that song? It is a classic from the movie The Sound of Music, but writing it had to be a little tricky.
Picture this: Rodgers plucks out the tune at a piano while Hammerstein paces. They have all the lyrics in place except for one.
"La," says Hammerstein, pacing. "What the heck is La?"
"That's not the problem," says Rodgers. "What the heck is it supposed to rhyme with?"
"It rhymes with Fa," says Hammerstein.
"Yeah, but Fa's not at the end."
The pacing Hammerstein begins spitting out words that rhyme with La. "Pa. Da. Ga. Sa. Ra -"
"As in Rah, Rah, Siskoombah?" Rodgers asks.
"You're getting punch-happy," the fretting Hammerstein snaps. "We gotta get this done and have it in the recording studio in an hour."
"One word," Rodgers mutters. "That one word is the hold up."
"What the heck good is that one word?" Hammerstein asks.
Rodgers chuckles. "For all I can tell it's just a word that follows So."
"Just good to follow So," Hammerstein mutters. "Whoever heard of such a thing?"
"A note to follow So," Rodgers echoes. He plucks out the tune on the black and white keys, muttering, "a note to follow So" at the same time.
Rodgers and Hammerstein look at each other.
This is not a true story. This is my imagination working overtime.
Re a drop of golden sun
Mi a name I call myself
Fa a long long way to run
So a needle pulling thread
La a note to follow So
Can you imagine writing that song? It is a classic from the movie The Sound of Music, but writing it had to be a little tricky.
Picture this: Rodgers plucks out the tune at a piano while Hammerstein paces. They have all the lyrics in place except for one.
"La," says Hammerstein, pacing. "What the heck is La?"
"That's not the problem," says Rodgers. "What the heck is it supposed to rhyme with?"
"It rhymes with Fa," says Hammerstein.
"Yeah, but Fa's not at the end."
The pacing Hammerstein begins spitting out words that rhyme with La. "Pa. Da. Ga. Sa. Ra -"
"As in Rah, Rah, Siskoombah?" Rodgers asks.
"You're getting punch-happy," the fretting Hammerstein snaps. "We gotta get this done and have it in the recording studio in an hour."
"One word," Rodgers mutters. "That one word is the hold up."
"What the heck good is that one word?" Hammerstein asks.
Rodgers chuckles. "For all I can tell it's just a word that follows So."
"Just good to follow So," Hammerstein mutters. "Whoever heard of such a thing?"
"A note to follow So," Rodgers echoes. He plucks out the tune on the black and white keys, muttering, "a note to follow So" at the same time.
Rodgers and Hammerstein look at each other.
This is not a true story. This is my imagination working overtime.
February 20, 2014
Establishing a Character's Character
Characters must have character.
This may seem an obvious statement, but you’d be surprised how many writers fail to give their characters character.
You must ask yourself what characteristics do I want my characters to have? The answer to that is completely up to you.
Determine if your character is a good guy/girl or a bad guy/girl.
A good character may have some of the following characteristics: Integrity, Courage, Loyalty, Determination, Ambition, Compassion.
A bad character may have some of these: Greed, Hate, Anger, Deceit, Ruthlessness, Dishonesty.
Mind you, characters will more than likely not be this cookie-cutter. And these are just a few of the traits found in each category. But if you’re trying to establish who the reader should root for, then each of your characters needs some of these traits.
Let’s begin with the good guy.
The last thing you want to do is state, “She or he was loyal, brave and true.” She or he may be all three but it’s a very boring way to let the reader know.
Instead, put the character into a situation that shows the reader how loyal, brave and true she or he is. Like in the paragraph below.
Donovan crept along the cobblestone path to the door of the castle, his hand ever ready on the hilt of his sword. Dawn was fast approaching. He had to get inside, kill the wizard Morgrith and flee before the wizard’s demons found him. He knew he could do this. He must do this. Otherwise, Morgrith would cast a spell rendering King Rodolfo powerless, incapable of running the kingdom. Even so, Donovan’s hand trembled upon the hilt. He knew not what he would encounter in the castle, only that he would deal with whatever lay before him.
We have established that our hero, Donovan, is afraid; his hand would not tremble upon the hilt of his sword if he weren’t afraid. His courage is evident in that he is willing to act in the face of his fear regardless of what he may encounter. His loyalty is to King Rodolfo and he will see his mission through.
Let’s tackle the flip side of the coin. It isn’t enough to state that someone is evil. Show the evil.
Morgrith stood at the window of his study following Donovan’s every move. The demons stood at the ready, awaiting Morgrith’s signal to begin their assault. There was a vat of hot boiling oil and talons and teeth sharpened to a fine point awaiting the beleaguered hero. Let him think one lowly knight could thwart this wizard’s plans to possess the kingdom. He would know otherwise soon enough.
Here we’ve established the evil in our wizard. He’s ready to kill one knight and it shows he will stop at nothing to get what he wants.
In order to develop a character’s character, it is vital to force the character into challenging situations. How the character deals with those situations will establish the character of the character, for better or for worse.
It gives the reader a glimpse into the life of the character, what makes the character who she or he is. It enhances the reading experience to know a character will face her or his demons and will be a stronger person for having defeated those demons. It enhances the reading experience even more to see how a character deals with her or his demons.
Because how a character in a story or a novel deals with those challenging situations may well inspire a reader with new ideas about how to deal with her or his own challenging situations.
This may seem an obvious statement, but you’d be surprised how many writers fail to give their characters character.
You must ask yourself what characteristics do I want my characters to have? The answer to that is completely up to you.
Determine if your character is a good guy/girl or a bad guy/girl.
A good character may have some of the following characteristics: Integrity, Courage, Loyalty, Determination, Ambition, Compassion.
A bad character may have some of these: Greed, Hate, Anger, Deceit, Ruthlessness, Dishonesty.
Mind you, characters will more than likely not be this cookie-cutter. And these are just a few of the traits found in each category. But if you’re trying to establish who the reader should root for, then each of your characters needs some of these traits.
Let’s begin with the good guy.
The last thing you want to do is state, “She or he was loyal, brave and true.” She or he may be all three but it’s a very boring way to let the reader know.
Instead, put the character into a situation that shows the reader how loyal, brave and true she or he is. Like in the paragraph below.
Donovan crept along the cobblestone path to the door of the castle, his hand ever ready on the hilt of his sword. Dawn was fast approaching. He had to get inside, kill the wizard Morgrith and flee before the wizard’s demons found him. He knew he could do this. He must do this. Otherwise, Morgrith would cast a spell rendering King Rodolfo powerless, incapable of running the kingdom. Even so, Donovan’s hand trembled upon the hilt. He knew not what he would encounter in the castle, only that he would deal with whatever lay before him.
We have established that our hero, Donovan, is afraid; his hand would not tremble upon the hilt of his sword if he weren’t afraid. His courage is evident in that he is willing to act in the face of his fear regardless of what he may encounter. His loyalty is to King Rodolfo and he will see his mission through.
Let’s tackle the flip side of the coin. It isn’t enough to state that someone is evil. Show the evil.
Morgrith stood at the window of his study following Donovan’s every move. The demons stood at the ready, awaiting Morgrith’s signal to begin their assault. There was a vat of hot boiling oil and talons and teeth sharpened to a fine point awaiting the beleaguered hero. Let him think one lowly knight could thwart this wizard’s plans to possess the kingdom. He would know otherwise soon enough.
Here we’ve established the evil in our wizard. He’s ready to kill one knight and it shows he will stop at nothing to get what he wants.
In order to develop a character’s character, it is vital to force the character into challenging situations. How the character deals with those situations will establish the character of the character, for better or for worse.
It gives the reader a glimpse into the life of the character, what makes the character who she or he is. It enhances the reading experience to know a character will face her or his demons and will be a stronger person for having defeated those demons. It enhances the reading experience even more to see how a character deals with her or his demons.
Because how a character in a story or a novel deals with those challenging situations may well inspire a reader with new ideas about how to deal with her or his own challenging situations.
February 19, 2014
The Muse Speaketh
The word muse can be used as either verb or noun.
As a verb, it means “to think or meditate in silence, as on some subject.”
As a noun: “the goddess or the power regarded as inspiring a poet, artist, thinker, or the like.”
Both definitions apply to writers and other people of creative thought processes. Creative people must spend a good deal of time thinking about the next step in her or his creative process.
We also call upon our individual creative goddesses from time to time.
My creative muse’s name is Natalie (that’s what she told me.) She is one of the most important people I know.
She virtually shouts at me when a new idea is presented to me as a possible creative avenue to pursue. But she also, very quietly, works on ideas teaming up with my subconscious to ensure those ideas are coherent and worthy when it comes time for me to consciously work on them.
They make a great team, Natalie and my subconscious. Often is the time that an idea will occur to me during my writing that I had not consciously considered. I credit Nat and Sub for holding on to that idea to present to me just when I needed it.
It is important to listen to the muse. She is very wise and knows what the creative person needs. She probably knows you better than you know yourself.
She will inspire you, sometimes taking you in directions you wouldn’t normally venture to follow.
She’ll never steer you wrong. But she’ll always steer you in the right direction.
At times, a writer gets “married” to a particular idea. A character must act a certain way or these particular events must happen thusly. Though still being creative, this line of thinking leaves little room for digression, expansion or exploration: it limits the imagination and demands that certain steps be taken without allowing new steps to be created.
Follow where the muse takes you. She may be trying to show you a different perspective, one which might make all the difference. She may be introducing you to a new character, one which you didn’t think of but one which might add more to the story than you realize.
She may be encouraging you to experiment. Try something different, something new. She may be prompting you to use a storyline that others think nominal but which you can make astounding.
The muse has faith in you even when you lack faith in yourself. She knows what you can do, what you are capable of, even though you may be unaware of your capabilities.
She is there to believe in you when no one else does.
When the muse speaketh: Listen.
As a verb, it means “to think or meditate in silence, as on some subject.”
As a noun: “the goddess or the power regarded as inspiring a poet, artist, thinker, or the like.”
Both definitions apply to writers and other people of creative thought processes. Creative people must spend a good deal of time thinking about the next step in her or his creative process.
We also call upon our individual creative goddesses from time to time.
My creative muse’s name is Natalie (that’s what she told me.) She is one of the most important people I know.
She virtually shouts at me when a new idea is presented to me as a possible creative avenue to pursue. But she also, very quietly, works on ideas teaming up with my subconscious to ensure those ideas are coherent and worthy when it comes time for me to consciously work on them.
They make a great team, Natalie and my subconscious. Often is the time that an idea will occur to me during my writing that I had not consciously considered. I credit Nat and Sub for holding on to that idea to present to me just when I needed it.
It is important to listen to the muse. She is very wise and knows what the creative person needs. She probably knows you better than you know yourself.
She will inspire you, sometimes taking you in directions you wouldn’t normally venture to follow.
She’ll never steer you wrong. But she’ll always steer you in the right direction.
At times, a writer gets “married” to a particular idea. A character must act a certain way or these particular events must happen thusly. Though still being creative, this line of thinking leaves little room for digression, expansion or exploration: it limits the imagination and demands that certain steps be taken without allowing new steps to be created.
Follow where the muse takes you. She may be trying to show you a different perspective, one which might make all the difference. She may be introducing you to a new character, one which you didn’t think of but one which might add more to the story than you realize.
She may be encouraging you to experiment. Try something different, something new. She may be prompting you to use a storyline that others think nominal but which you can make astounding.
The muse has faith in you even when you lack faith in yourself. She knows what you can do, what you are capable of, even though you may be unaware of your capabilities.
She is there to believe in you when no one else does.
When the muse speaketh: Listen.
February 12, 2014
Writing Around the Details
Some details simply aren't necessary. You don’t have to provide a detailed summary of injuries sustained to characters, don’t have to be or consult with a doctor for a prognosis. Those details can sometimes be more detrimental to a story than helpful to the reader.
A prime example of this is Jeff Lindsay’s Dexter By Design.
For those not familiar with Lindsay’s Dexter series: Dexter is a serial killer who kills serial killers. He mostly targets those guilty of crimes against children, primarily pedophiles who kill children. He is also a blood splatter analyst for the Miami Police Department. His foster sister, Deborah, also works for the Miami Police Department.
In Dexter By Design, Dexter and Deborah pay a visit to the home of a suspect. Deborah is stabbed in the process and hospitalized.
Not once throughout the ordeal does Lindsay go into detail about Deborah’s injuries. The only thing the reader knows is that “she lost a lot of blood.”
No medical jargon. No technical mumbo-jumbo. No lengthy explanations about where the knife penetrated, what organs (if any) that may have been affected and no platitudes about how lucky Deborah was.
Instead, Lindsay focuses on the real issue: the relationship between Deborah and Dexter.
Deborah recently discovered Dexter’s secret life and she was processing her feelings about the matter.
Dexter was processing how he felt about his sister. Feelings are something Dexter is always processing, whether he believes he has them or not.
There was already enough going on in the novel without it getting bogged down with medical details regarding Deborah’s injury. Going into those details would have been tedious instead of enlightening. Rather than have the reader stumble through the medical vernacular, Lindsay keeps the important stuff in the forefront while using Deborah’s injury as background drama.
Details about her injury simply aren’t necessary. It is enough to know that Deborah has sustained a potentially life-threatening injury and even more important is how Dexter reacts to it and feels about it. Details about the injury itself would have added insult (pun intended).
It is the foremost job of the writer to keep the story moving, keep the reader interested. Had Mr. Lindsay insisted upon including medical and technical details about Deborah’s injury, not one of those details would have been pertinent to the story. It would have just been information the reader had to slog through to get to the next interesting part.
This doesn’t mean you should forego any research that needs to be done. There are details that are imperative you know something about.
For instance, in the novel I am currently working on, I need to learn more about guns. This will require hands-on research: visiting a firing range, talking to people who are gun enthusiasts and probably handling and shooting a gun as well.
One of my characters is a superior markswoman (that’s right, I said woman). She’s going to know her gun, know it well and know how to handle it. This is an important detail in the novel and the research must be done.
I’m not crazy about guns. They scare me. I’ve never held one unless you count the childhood water gun. It is imperative that I overcome this, steel my nerves and do that research.
Weigh the importance of your details to your reader. Must they know that a conduit is not only a means of conveying water it also denotes a means of access? Do they really need to know the minute details of an injury or would it suffice they know it is life-threatening? Do they need to know the exact route to get to the buried treasure or is it more important what the characters endure to get there?
While the details can be interesting if they don’t move the story along or make a poignant point it may be best to write around them. Sometimes the how and the why of a thing isn’t as important as how the people affected deal with it.
It isn’t that details don’t matter. They do. As long as you expend the time and energy on the really important details.
A prime example of this is Jeff Lindsay’s Dexter By Design.
For those not familiar with Lindsay’s Dexter series: Dexter is a serial killer who kills serial killers. He mostly targets those guilty of crimes against children, primarily pedophiles who kill children. He is also a blood splatter analyst for the Miami Police Department. His foster sister, Deborah, also works for the Miami Police Department.
In Dexter By Design, Dexter and Deborah pay a visit to the home of a suspect. Deborah is stabbed in the process and hospitalized.
Not once throughout the ordeal does Lindsay go into detail about Deborah’s injuries. The only thing the reader knows is that “she lost a lot of blood.”
No medical jargon. No technical mumbo-jumbo. No lengthy explanations about where the knife penetrated, what organs (if any) that may have been affected and no platitudes about how lucky Deborah was.
Instead, Lindsay focuses on the real issue: the relationship between Deborah and Dexter.
Deborah recently discovered Dexter’s secret life and she was processing her feelings about the matter.
Dexter was processing how he felt about his sister. Feelings are something Dexter is always processing, whether he believes he has them or not.
There was already enough going on in the novel without it getting bogged down with medical details regarding Deborah’s injury. Going into those details would have been tedious instead of enlightening. Rather than have the reader stumble through the medical vernacular, Lindsay keeps the important stuff in the forefront while using Deborah’s injury as background drama.
Details about her injury simply aren’t necessary. It is enough to know that Deborah has sustained a potentially life-threatening injury and even more important is how Dexter reacts to it and feels about it. Details about the injury itself would have added insult (pun intended).
It is the foremost job of the writer to keep the story moving, keep the reader interested. Had Mr. Lindsay insisted upon including medical and technical details about Deborah’s injury, not one of those details would have been pertinent to the story. It would have just been information the reader had to slog through to get to the next interesting part.
This doesn’t mean you should forego any research that needs to be done. There are details that are imperative you know something about.
For instance, in the novel I am currently working on, I need to learn more about guns. This will require hands-on research: visiting a firing range, talking to people who are gun enthusiasts and probably handling and shooting a gun as well.
One of my characters is a superior markswoman (that’s right, I said woman). She’s going to know her gun, know it well and know how to handle it. This is an important detail in the novel and the research must be done.
I’m not crazy about guns. They scare me. I’ve never held one unless you count the childhood water gun. It is imperative that I overcome this, steel my nerves and do that research.
Weigh the importance of your details to your reader. Must they know that a conduit is not only a means of conveying water it also denotes a means of access? Do they really need to know the minute details of an injury or would it suffice they know it is life-threatening? Do they need to know the exact route to get to the buried treasure or is it more important what the characters endure to get there?
While the details can be interesting if they don’t move the story along or make a poignant point it may be best to write around them. Sometimes the how and the why of a thing isn’t as important as how the people affected deal with it.
It isn’t that details don’t matter. They do. As long as you expend the time and energy on the really important details.
January 29, 2014
Subconscious Working Overtime? It’s Supposed To!
The subconscious mind is a marvelous thing. According to crime dramas, the subconscious mind is capable of remembering everything we see, hear and learn in our lifetime. We may not be able to consciously recall the tag number of that car that cut us off in traffic, but our subconscious never forgets.
I rely a great deal on my subconscious to enhance my writing. It never fails when I am at a crossroads with my characters a solution seems to magically be made known to me. Accordingly, I credit my subconscious.
This was really brought home to me when I recently revised a couple of novels published prior to the Sword of Tilk Trilogy.
I reread 9.5B first published in 2010. I created a character named Stormy Rose Prometheus. Excuse me, Dr. Stormy Rose Prometheus who was known by the moniker Prometheus.
I didn’t do any research on the name when I initially wrote the book. I don’t know why. I am usually anal about that sort of thing, but I liked the name.
Before I began revising the book, I took to the Internet to find out exactly who and what Prometheus was. I especially wanted to know because there was a movie released in 2012 of the same name and I needed to know if any part of the movie overlapped the book and vice versa.
What I found surprised me.
Prometheus was a Titan from Greek mythology credited with the creation of man. He gave the gift of fire to mankind then was punished by the Greek gods for doing so. He was tied to a rock and an eagle would eat his liver. The liver then grew back and the eagle returned each day to feast upon the organ again.
I remember studying Greek mythology in high school. It was one of my favorite subjects at the time. I recall being in a cramped little room, sweltering from the heat even with the windows open, desks crowded side by side against one another. I even remember the cover of the book: kind of a peach and teal color, very pretty I thought. But I do not for the life of me consciously recall the name Prometheus.
But we must have studied Prometheus at some point. The name obviously stuck.
I also learned from my research that the original title of Mary Shelley’s Frankenstein was Frankenstein: The Modern Prometheus. The subtitle has been dropped but it refers to Victor Frankenstein himself due to his attempt to create life through scientific means or by means other than natural reproduction.
It is a similar credit given to Prometheus the Titan when he created man from clay: a being into which a spirit could be breathed.
Once I had done all my research, the irony of naming my character Prometheus surprised me.
You see, Dr. Stormy Rose Prometheus is also a scientist. One who clones herself a daughter, thus creating life by means other than natural reproduction.
Talk about the subconscious working overtime.
There are many other smaller examples of my subconscious contributing to my writing efforts, some of which came directly from personal experience. But the Prometheus name really took me by surprise.
I have learned to sort of “listen” to my subconscious when I’m writing. If I am struggling with a scene, a dialogue or a character, I sit very still. I allow my imagination to visualize the idea I am attempting to get on paper.
Before I know it, I am breezing through the scenario with ideas that had not occurred to me but which work very well with what I am writing.
Some call it inspiration. Some call it a muse (my muse’s name is Natalie; at least that’s what she told me). It’s really both.
No matter what you choose to call it, pay attention when it comes calling. More than likely, it’s your subconscious working overtime.
That’s what it’s there for.
I rely a great deal on my subconscious to enhance my writing. It never fails when I am at a crossroads with my characters a solution seems to magically be made known to me. Accordingly, I credit my subconscious.
This was really brought home to me when I recently revised a couple of novels published prior to the Sword of Tilk Trilogy.
I reread 9.5B first published in 2010. I created a character named Stormy Rose Prometheus. Excuse me, Dr. Stormy Rose Prometheus who was known by the moniker Prometheus.
I didn’t do any research on the name when I initially wrote the book. I don’t know why. I am usually anal about that sort of thing, but I liked the name.
Before I began revising the book, I took to the Internet to find out exactly who and what Prometheus was. I especially wanted to know because there was a movie released in 2012 of the same name and I needed to know if any part of the movie overlapped the book and vice versa.
What I found surprised me.
Prometheus was a Titan from Greek mythology credited with the creation of man. He gave the gift of fire to mankind then was punished by the Greek gods for doing so. He was tied to a rock and an eagle would eat his liver. The liver then grew back and the eagle returned each day to feast upon the organ again.
I remember studying Greek mythology in high school. It was one of my favorite subjects at the time. I recall being in a cramped little room, sweltering from the heat even with the windows open, desks crowded side by side against one another. I even remember the cover of the book: kind of a peach and teal color, very pretty I thought. But I do not for the life of me consciously recall the name Prometheus.
But we must have studied Prometheus at some point. The name obviously stuck.
I also learned from my research that the original title of Mary Shelley’s Frankenstein was Frankenstein: The Modern Prometheus. The subtitle has been dropped but it refers to Victor Frankenstein himself due to his attempt to create life through scientific means or by means other than natural reproduction.
It is a similar credit given to Prometheus the Titan when he created man from clay: a being into which a spirit could be breathed.
Once I had done all my research, the irony of naming my character Prometheus surprised me.
You see, Dr. Stormy Rose Prometheus is also a scientist. One who clones herself a daughter, thus creating life by means other than natural reproduction.
Talk about the subconscious working overtime.
There are many other smaller examples of my subconscious contributing to my writing efforts, some of which came directly from personal experience. But the Prometheus name really took me by surprise.
I have learned to sort of “listen” to my subconscious when I’m writing. If I am struggling with a scene, a dialogue or a character, I sit very still. I allow my imagination to visualize the idea I am attempting to get on paper.
Before I know it, I am breezing through the scenario with ideas that had not occurred to me but which work very well with what I am writing.
Some call it inspiration. Some call it a muse (my muse’s name is Natalie; at least that’s what she told me). It’s really both.
No matter what you choose to call it, pay attention when it comes calling. More than likely, it’s your subconscious working overtime.
That’s what it’s there for.
Painting Emotions with Haikus
The American Haiku form differs vastly from the original Japanese Haiku form.
Not that there is anything wrong with that. It is often necessary to Americanize things – from writing to food – so that these things are more palatable to the American palate.
As a result, American Haiku forms follow specific standards. The most familiar is the 5-7-5 syllable count. It is the most recognized and accepted form of Haiku in the United States. As a standard, most Haikus have a nature theme to them. This does not preclude a Haiku tackling other topics. But the nature theme gives more impact to the Haiku itself.
There are other lesser-known forms of Haiku. There is the Lune which consists of 3-5-3 word count or 5-3-5 syllable count. And the Zip which consists of a total of 15 syllables written on 2 lines with a caesura or double space between words in the middle of the two lines.
Examples:
Lune:
Grasshopper
blade of grass
new roots in earth’s soil
home to grasshopper
Zip:
Feast
red-tailed hawk | circles in azure sky
spots dead carcass | a feast
(The bar represents the caesura between the lines).
Regardless of which form of Haiku is written they are all designed to elicit emotional responses from the reader.
I recall an English teacher (I cannot recall her name) who defined Haiku as follows: it should be stark. Each line should be able to stand on its own. It’s best to use contrasting images. It should take the reader by surprise. And it should make the reader feel something.
Not every Haiku written follows every one of these guidelines as set forth by that wise woman. But one guideline each and every one should follow is that last one: it should make the reader feel something. Everything I write tells a story. But it’s about more than telling a story. It is about eliciting an emotional response in the reader.
This is one of the most important jobs of the writer. An emotional response has a lasting effect. A reader will remember how a certain piece of writing makes her or him feel and will be more likely to share that experience with others. Painting emotions with Haikus takes practice and careful consideration. It is imperative to give thought to the words used. Considering how these words make you feel gives you an idea of what the reader may experience.
Innocent
the mountain lion
poised to pounce upon its prey
innocent rabbit
Do you sympathize with the rabbit? Or do you feel the lion has the right to survival?
Try this one
Warm
snow falls in fat flakes
warm fingers
cup of hot choc’late
This one immediately brings to mind a cold winter day. The feelings of safety and comfort from being inside where it’s warm when it’s cold and snowing outside are the emotions this Haiku elicits.
A Haiku should take the reader on a wonderful journey in a short span of time. Within that short span of time the reader can experience every emotion from fear to comfort to romance to elation.
Consider your pencil, pen or computer a paintbrush when writing those Haikus. Make them feel something.
Not that there is anything wrong with that. It is often necessary to Americanize things – from writing to food – so that these things are more palatable to the American palate.
As a result, American Haiku forms follow specific standards. The most familiar is the 5-7-5 syllable count. It is the most recognized and accepted form of Haiku in the United States. As a standard, most Haikus have a nature theme to them. This does not preclude a Haiku tackling other topics. But the nature theme gives more impact to the Haiku itself.
There are other lesser-known forms of Haiku. There is the Lune which consists of 3-5-3 word count or 5-3-5 syllable count. And the Zip which consists of a total of 15 syllables written on 2 lines with a caesura or double space between words in the middle of the two lines.
Examples:
Lune:
Grasshopper
blade of grass
new roots in earth’s soil
home to grasshopper
Zip:
Feast
red-tailed hawk | circles in azure sky
spots dead carcass | a feast
(The bar represents the caesura between the lines).
Regardless of which form of Haiku is written they are all designed to elicit emotional responses from the reader.
I recall an English teacher (I cannot recall her name) who defined Haiku as follows: it should be stark. Each line should be able to stand on its own. It’s best to use contrasting images. It should take the reader by surprise. And it should make the reader feel something.
Not every Haiku written follows every one of these guidelines as set forth by that wise woman. But one guideline each and every one should follow is that last one: it should make the reader feel something. Everything I write tells a story. But it’s about more than telling a story. It is about eliciting an emotional response in the reader.
This is one of the most important jobs of the writer. An emotional response has a lasting effect. A reader will remember how a certain piece of writing makes her or him feel and will be more likely to share that experience with others. Painting emotions with Haikus takes practice and careful consideration. It is imperative to give thought to the words used. Considering how these words make you feel gives you an idea of what the reader may experience.
Innocent
the mountain lion
poised to pounce upon its prey
innocent rabbit
Do you sympathize with the rabbit? Or do you feel the lion has the right to survival?
Try this one
Warm
snow falls in fat flakes
warm fingers
cup of hot choc’late
This one immediately brings to mind a cold winter day. The feelings of safety and comfort from being inside where it’s warm when it’s cold and snowing outside are the emotions this Haiku elicits.
A Haiku should take the reader on a wonderful journey in a short span of time. Within that short span of time the reader can experience every emotion from fear to comfort to romance to elation.
Consider your pencil, pen or computer a paintbrush when writing those Haikus. Make them feel something.
