Joyce T. Strand's Blog, page 36

What the Experts Say: Interview, Marja McGraw--Mysteries with a Little Humor

[image error] Joyce: Welcome back, Marja. I really appreciate you taking the time to share your expertise with my readers. Also I want to let everyone know that BOGEY'S ACE IN THE HOLE (A BOGEY MAN MYSTERY) is now available.

Marja: Thanks. I'm glad to be back. However, I need to repeat that writing mysteries, at least for me, isn't an exact science.

Joyce: All the more reason to listen to how you produce your mysteries. As a fan of mysteries, I like your books a lot – both the Sandi Webster and the Bogey Man Mysteries. Your characters fill your stories and make me want to read more to understand what happens to them. What do you do to make them engaging? 

Marja: I try to write my characters as though they're someone I know in real life. They aren't, and I want to clarify that so my friends and relatives don't think I'm writing about them. I'd like the reader to be able to relate to the characters. They all have little idiosyncrasies, just like you and me, but I generally exaggerate them to a degree. If you find them engaging, then you can probably relate to them on some level, which means I've done my job.

Joyce: I personally really enjoy their names, and can more quickly envision the people based on them.  Where do you get the names?

Along those same lines, in most cases I've tried to use common names that people can relate to. Personally, I can relate to a Sandi easier than I can relate to a Marja. Interesting, because I receive compliments on my name and yet I'd never use it in a book. Well, who'd want to use their own name anyway?

On the other hand, in The Bogey Man I included a character named Purity Patton. She was relatively famous and I wanted a memorable name. Susan or Linda just didn't seem to be appropriate for this character. I also included a man named Jolly, although he wasn't a particularly happy person. His parents tried to give their children some traits by giving them names associated with the way they hoped the kids would turn out. I know someone who actually did this.

In an upcoming book I have a peripheral character named Chloene. I posted a contest on my website asking for name suggestions. Someone entered the name of someone they'd known who had a very sad life. She wanted to give her a happy ending instead of the way things really turned out. It's a good name and the reason for entering it in the contest touched my heart. Chloene needed a better life than the one she was handed.

Joyce: That's awesome. As authors, we don't often get to rewrite the ending of real-life characters. If only we could.

How do you write dialogue? Do you ascribe certain character traits and then write dialogue to match them?

Marja: I try to keep dialogue as real as possible. Every person I know has an individual "voice", and I try to do the same with my characters. Frequently people don't speak proper English, but use language that suits their lives. A convicted felon with many years in prison probably isn't going to say, "Pass the tea, please." He's more likely to say, "Gimme a beer and make it quick."

Even little old ladies might surprise you. My grandmother frequently came up with comments that stopped me cold and gave me a good laugh. Seniors are a lot more savvy than we sometimes give them credit for, and I want the dialogue to be as real as possible.

Chris Cross's dialogue is pretty easy because he frequently uses 1940s slang. A lot of people aren't familiar with that slang, so consequently there are times when his wife, Pamela, will have to respond with something that defines what he was talking about. He's not crazy and doesn't think he's really Bogey, so under normal circumstances he speaks just like Joe Blow from down the block.

Now that I think about it, apparently I do define a character and then write dialogue to match the person's traits. Let me remind you about the convicted felon I referenced above. In the context that I wrote him being sweet, kind and gentle wouldn't portray the type of man he was. I created a character such as this in Prudy's Back! and he was rough, to put it mildly. His dialogue wasn't polite or friendly, and he wasn't someone you'd probably want to meet on a dark street at night. However, let me add that I use very little profanity in my books. Even with a character like this one, it isn't always necessary.

As a reader I want the dialogue to ring true. As a writer, if I'm not sure I like the sound of what a character is saying, I'll read it aloud. Sometimes I have to laugh, and I think, "What were you thinking?" And I rewrite.

Marja McGraw is originally from Southern California, where she worked in both criminal and civil law enforcement for several years

Relocating to Northern Nevada, she worked for the State highway department. Marja also did a stint in Oregon where she worked for the County Sheriff's Office and where she owned her own business, a Tea Room/Antique store. After a brief stop in Wasilla, Alaska, she returned to Nevada.

Marja wrote a weekly column for a small newspaper in No. Nevada and she was the editor for the Sisters in Crime Internet Newsletter for a year and a half. She's appeared on television in Nevada, and she's also been a guest on various radio and Internet radio shows.

She writes the Sandi Webster Mysteries and the Bogey Man Mysteries, and says that each of her mysteries contain a little humor, a little romance and A Little Murder!

For additional information: http://www.marjamcgraw.com


Writing a Story: Exercise by Exercise - 7

As I noted in the first articles of this series, writing readable prose is a multi-tasked process. However, we are simplifying the process by breaking a story into components and using exercises to draft it one element at a time.

We are telling a story based on the following plot.

~A boy enters a room. His sister joins him. They do their task. They leave the room together.~

In Exercise 1, we described the room the boy is entering. In Exercise 2 we created the character of the boy. Next we described how the boy enters the room. Then we created a second character – the boy's sister. Next we wrote a paragraph to describe how the sister enters the room to join her brother. Then we wrote some dialogue in which the brother and sister argued over what they should do.
Once the brother and sister have finished arguing, describe how they perform whatever they are there to do. Do they divide and conquer? Does the boy do all of it while the sister looks on, or vice versa? Describe who is doing what. Are they moving quickly or carefully? How are they implementing their task? Do they use their own clothes to carry something? Did they bring something to carry? Do they hear voices or see anything while they are doing their task?
To help you write about the fictional activity of your brother and sister, describe a task you are sharing with someone, like straightening up your house, preparing a presentation, working on your car, or preparing dinner.
Remember, you are creating the situation and the activity. You can create whatever activity or situation you want. They could be vampires in search of blood or a dark place to sleep, or two kids at their beach house looking for their swim suits. You're in charge. Have fun.
Also, keep in mind that you can edit whatever you write. What's important is to practice writing—to make the page come alive with words.
Next our two characters will complete their task and leave the room.
Joyce T. Strand
Author of the Jillian Hillcrest Mystery Series;
http://joycestrand.com

What the Experts Say: Interview, Lisa V. Proulx--Horror Novels & Stories of Inspiration

[image error] Joyce: First, thanks for stopping by again to offer expert advice to my readers. I'm always fascinated by your choice of genres, which seem so contradictory – horror versus inspiration.

Lisa: Yes, It's funny how some of my books will scare you and the others will heal you. Maybe there is a method to my madness!

Joyce: Today we're focusing on writing about compelling characters and how to use dialogue. How do you create your characters? Are they based on real people? How do you make them credible? 

LISA: In PUNCTURE, my vampire novel, the characters were based on real people. Victor and Veronica are very real. I like to add some realism to each of my people and I think that gives them more of an edge.
 
In my other books, they too are either real or based on actual people. I think with an inspirational story, readers want to be able to relate to the character or subject line and in horror, they want a fantasy and a place to escape.
 
Joyce: Do you write dialogue to match your character's traits? 

Lisa: I like to consider my dialogue my best feature when it comes to writing. I listen to people out in the world and I hear the way they speak to one another, the way they carry on in public, talk to their children and so on. So, yes, if I am writing about a hardened criminal, he is not going to sound like Shirley Temple. He will cuss and break you down and make you cry. On the other hand, a sweet, church going girl will speak to you in a totally different tone.

Joyce: Thanks so much for your input. We'll talk to you next when we discuss how to target your readers.

*Lisa V. Proulx is the author of the vampire novel PUNCTURE, which was published in 2004 and MOTHER'S MONSTER, a short horror story, which was published in the anthology DOSES OF DEATH in 2005; DRAGGED INTO DARKNESS (2011) – how an abusive husband dies and tries to work his way out of hell; and BENEATH THE BATTLEFIELD – a civil war ghost short story about a soldier who writes letters to his mother about the horrors of war. She has also written the inspirational: THE RAINBOW WON'T WAIT -- Nonfiction: A dying mother's advice for the obstinate daughter she is leaving behind.

She is also a feature writer and columnist for her hometown newspaper where she has worked for the past ten years, and she writes a weekly column chronicling events in her area.

Amazon.com
http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&search-alias=books&field-author=Lisa%20V.%20Proulx

Barnes&Noble
http://www.barnesandnoble.com/s?store=NOOKSTORE&keyword=lisa+v.+proulx

Smashwords Author Profile
http://www.smashwords.com/profile/view/lisavproulx

Also published in The Barefoot Review...http://www.barefootreview.org/progress.html#lisa_v_proulx

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FaceBook Author Fan Page: https://www.facebook.com/pages/Lisa-V-Proulx-Author-Fan-Page/223212131077410

Writing a Story: Exercise by Exercise -6

As I noted in the first articles of this series, writing readable prose is a multi-tasked process. With these exercises, we can simplif the process by breaking a story into components and using exercises to draft it one element at a time.
If you've tried to write, you know that words just don't automatically gush out to form sentences, paragraphs and stories. A writer chooses his words much like a painter chooses colors and brush-strokes to drive each paragraph to work together to complete the canvas. Instead of paint and colors, a writer uses character development, descriptive prose, and dialogue to create a compelling story.
We are telling a story based on the following plot.

~A boy enters a room. His sister joins him. They do their task. They leave the room together.~

In Exercise 1, we described the room the boy is entering. In Exercise 2 we created the character of the boy. Next we described how the boy enters the room. Then we created a second character – the boy's sister. Next we wrote a paragraph to describe how the sister enters the room to join her brother.
Now we are going to write some dialogue to explain why the brother and sister are in the room together: to look for something, to remove something from the room, to prepare or steal some food for their starving brothers and sisters, to find the boy's lost pet hamster, to help the boy remember something because he's lost his memory due to a brain tumor, to find a way to escape from their kidnappers who have been holding them in the house, to visit their dying mother. This is an important plot point, and dialogue is the most engaging way to involve your reader.
Have the boy explain why he's there and what he expects to do or find. His sister will respond and disagree. The boy will argue his point. The sister will give in. Remember to describe their reactions consistent with their character as part of the dialogue: if the boy is upset, how does he feel when his sister disagrees? Is he angry, sad, panicked? Physically how does the sister feel: does her heart start beating more rapidly? Is she disgusted or frightened? How do they decide to fulfill their goal of being in the room? Use emotions or reactions rather than "he said, she said" to designate who is speaking.
To help develop fictional dialogue, write down a dialogue that occurred between you and a sibling, or if you do not have access to a sibling, write a dialogue between you and a friend. Keep it simple. It can be about anything. It might even help to record it. Note any physical reactions you might have to statements made by your sibling or friend. Another approach is to find a short newspaper article and write it as dialogue between two people.
Again, dialogue is important because it brings the reader into the story. So take some time and have some fun getting your brother and sister to talk at one another. Don't forget they are brother and sister. Next, we'll write a paragraph describing their activity in the room.
Joyce T. Strand
Author of the Jillian Hillcrest Mystery Series
http://joycestrand.com

What the Experts Say: Interview, Shawn Hopkins

[image error] JOYCE: First, thank you for sharing your expertise with our readers. We appreciate your generosity. I'd like to turn now to character development. Your books, e.g., PROGENY and THE SOLOMON KEY, "blend the real world with things beyond our nature." How do you develop engaging characters within this realm?

SHAWN: As for the characters, I tend to begin with a concept and insert characters into it as the story demands the need for them. Obviously, you need a point-of-view (POV) and so that's where I start. That person is the easiest person to create in a way, because they have to be able to move the story along, which means their background, age, talents, etc kind of come in preprogrammed by the story. For example, in my novel The Solomon Key, it was necessary that my POV be some kind of ex-soldier/intelligence, otherwise he wouldn't survive to chapter six.

In Progeny, I needed vehicles to get a lot of information across to the reader. So the evolution of the story dictated that such knowledgeable characters be created. As I'm going through the prologue of my new novel, I'm trying to figure out a way to bring some human elements to the characters in the midst of a story that is a pretty basic and straightforward horror/suspense novel. In the midst of being chased by supernatural forces, I want the reader to feel the reality of what my characters are going through, which means a certain level of sympathy. I like giving my main characters some kind of personal struggle that haunts them, that makes them seem more human. I didn't do that in my first novel and it really bothered me afterwards. So my characters generally start out being molded for me based on what the story is going to require of them, but the back story, the struggles and hidden demons the characters have that will be worked through chapter to chapter are what I really have to plot out. Sometimes it takes a few chapters before I know a character well enough to create their past, but I try to start with some general idea.

JOYCE: What is the key to good character dialogue? Do you ascribe different
characteristics to the dialogue based on your character's traits?

SHAWN: It's funny you should ask that. One of my latest reviews claimed that my dialogue was "wooden." Whatever that means! So, I guess if you were to ask that reader, I really have no business answering this question.

However, I'll pretend that I do (so far that's the only negative review I've gotten, and it still managed to come with a couple of stars). Sometimes how good dialogue sounds depends on whose mouth it's coming from. If you've ever seen the Star Wars auditions with Kurt Russell (and others), they're reading the script and it's HORRIBLE! The script sounds like trash and makes the actors look just as bad. But then they bring Mark Hamill, Harrison Ford, and Carrie Fischer in to audition and suddenly it all works (though not even the great cast selected for the prequels could salvage that dialogue).

Anyway, I've noticed that if I'm reading a novel and the dialogue sounds unrealistic and boring, I can envision the characters as, say, Mel Gibson and Jodie Foster (or whoever), and then the dialogue suddenly works because I've infused their mannerisms and personality into the scene. I mean, if you were to read a novel about Jack Sparrow before seeing Johnny Depp act it out, you probably wouldn't have had the same amount of fun with the dialogue.

So I think that what I try to do is to construct the characters in such a way that their traits and personalities dictate how the readers interpret the dialogue. Does that make sense? I think the authors who really capture that are the ones who can have a whole page of back and forth dialogue between two characters without ever having to use a single word outside of the quotes to explain to the reader how the dialogue should be interpreted. You know exactly how sarcastic, funny, angry, etc. the characters are being based on the way the author has already familiarized you with them.

So I guess I try and get the reader to know the character's temperament so that when he/she is engaged in dialogue, they know how to read it. With that said, there's still bad dialogue. I've seen it in some books where you're just like, "Are you kidding? They'd never say that!" So if you can match the dialogue with the character's personality, then the two help define each other.

I'm not sure that I told you what the "key" is for dialogue… I guess just staying within the boundaries you've created with your character development. I personally LOVE the dialogue in Dean Koontz books. I think he does an amazing job at defining his characters with dialogue, which is kind of going at it from the other side, but he knows how to write and I'm still learning so… maybe someday my wooden dialogue will sprout some fertile branches and I'll be able to do that too!

*Shawn Hopkins is an independent author who has published four novels. Fascinated by humanity's mysterious past (and future), his four novels find their inspiration via some of history's stranger instances of the unknown.

His first novel, Noahic, was published in 2005 and is a YA action adventure story that served as the inspiration for Progeny. His other book, Even the Elect, is the first edition of The Solomon Key. It's a much longer version that pays special attention to a futuristic America that has been deceived into setting up a One World Government, resulting in a continuous police state rather than the freedom promised. Conspiratorial in its design, action-packed in its delivery, and theological in its application, ETE has made for some sleepless nights... The Solomon Key is a streamlined production of the same story, though with slight modifications to the sociopolitical climate of the day (being implied rather that scrutinized), has gone through another edit, and is repackaged for a broader audience.  

He is currently working on a sequel to Progeny and a prequel to The Solomon Key.

For more information on Shawn, Go to Amazon.com: http:// http://tinyurl.com/8yhn7aa
http://www.shawnhopkinsauthor.com/

Writing a Story: Exercise by Exercise - 5

As I noted in the earlier articles of this series, writing readable prose is a multi-tasked process. With these exercises, we are simplifying the process to accelerate your status to that of author by breaking a story into components and using exercises to draft it one element at a time.
If you've tried to write, you know that words just don't automatically gush out to form sentences, paragraphs and stories. A writer chooses his words much like a painter chooses colors and brush-strokes to drive each paragraph to work together to complete the canvas. Instead of paint and colors, a writer uses character development, descriptive prose, and dialogue to create a compelling story.
We are telling a story based on the following simple plot.

~A boy enters a room. His sister joins him. They do their task. They leave the room together.~

In Exercise 1, we described the room the boy is entering. In Exercise 2 we created the character of the boy. Next we described how the boy enters the room. Then we created a second character – the boy's sister.
Now we are going to write a paragraph describing how the sister enters the room to join her brother. Does she follow her brother's point of entry? Or does she enter from a different place—window, door, trap door? How is her demeanor—is she carefree, furtive, concerned, laughing? Does she move quickly or slowly? Does she study the room? Where does she go when she enters? Does she say anything to her brother? Does she limp, or have any other traits when she walks? Is she carrying anything? What is she wearing?
As with the boy's entry, your previous description of the room will be important in determining how the sister enters the room. If the room is dark, she will be careful. If it smells bad, she might be inclined to hold her nose. She will enter a hospital room differently than she would enter a video game room. So as you describe how she is entering, keep in mind the type of room. If her approach is different than her brother's, explain the difference. Her character as you've described in the previous exercise will help determine this.
Again, it is useful to watch in your everyday life how someone enters a building or store and note how the real-life person opens and closes a door. For this exercise, it is helpful to note how two people enter at the same time so that you can see how a second person follows the first. Do they watch the first person? Do they hang back? This could help you explain the sister's entry following her brother.
These simple exercises provide a first step to telling your story. Take your time and have fun. However, remember these paragraphs are exercises, so they don't have to be perfect. Also, you'll have a chance to edit your writing later. So for now, focus on just getting something on paper or in your Word document.
Next time we'll focus on creating dialogue—a critical part of fictional writing to engage readers.
Joyce T. Strand
Author of the Jillian Hillcrest Mystery Series
http://joycestrand.com

What the Experts Say: Interview, Anthony Carbis

[image error] Q How do you get started writing?
A My first attempt at writing anything of some length was brought about by a moment of boredom. It suddenly occurred to me that I might enjoy writing something that I found funny. Because the experience made me smile, I persevered and the end result was a book called, 'People, Pubs and Enlightenment'.
    With regard to my novel, 'Murder and Enlightenment' there was a somewhat similar experience. I had just finished reading a Bram Stoker novel called, 'The Seven Stars' - or at least I think that's what the title was - and realized there was something about the author's Edwardian style of writing that I felt I could emulate. I immediately set to work writing the story as it occurred to me but after a few pages felt the need to work out a basic plot.
    As far as editing goes I found myself continually going back over what I had written. I soon realized my punctuation and grammar needed to be constantly checked. I was editing, rewriting and working out the plot all at the same time! The whole thing was a colossal learning curve.

Q What inspired you to write an historical thriller set in the 1890s?
As previously mentioned I was inspired by the writing style of Bram Stoker. He was writing at around the turn of the 20th century and I felt that a story close to that date would feel right. Also, there seems to me to be something mysterious and a little sinister about London's fog-bound streets during the period of Victoria's reign. I wanted the book to have both a dark and a lighter side to it.
    The characters are not based on real people, although some of the physical attributes of them have been drawn from people I have met in the past.
    The inspiration for the book came from a desire to reflect my own perspective on existence, which is one of unification. I wanted to express the non duality that I see as being the basis of our lives. My other book, 'People. Pubs and Enlightenment' deals with this at more length but is still more about entertainment than merely being a lecture on reality. I would like to stress that neither of my books contain spiritual or religious themes. I have merely woven my perspective into what I hope are entertaining stories.

*Author Anthony Carbis lives in the U.K. on the southwest coast of England. He has studied Eastern philosophies since the age of 18. He spent thirty years of being a jobbing singer/guitarist in England's West Country.

His books available on Amazon.com are:

Murder and Enlightenment -- a Victorian crime story with a dark edge and a little added meaning

People Pubs and Enlightenment - about a fictional singer/guitar player interested in Eastern religions who describes "followers of the holy trinity of brewing, fermenting and distilling."

Writing a Story: Exercise by Exercise - 4

As I noted in the first articles of this series, writing readable prose is a multi-tasked process. However, let's simplify the process to accelerate your status to that of author by breaking a story into components and using exercises to draft it one element at a time.
If you've tried to write, you know that words just don't automatically gush out to form sentences, paragraphs and stories. A writer chooses his words much like a painter chooses colors and brush-strokes to drive each paragraph to work together to complete the canvas. Instead of paint and colors, a writer uses character development, descriptive prose, and dialogue to create a compelling story.
We are telling a story based on the following plot.

~A boy enters a room. His sister joins him. They do their task. They leave the room together.

In Exercise 1, we described the room the boy is entering. In Exercise 2 we created the character of the boy. Next we described how the boy enters the room.
Now, we are going to create another character – the boy's sister. Again, think about her physical characteristics: is she short or tall compared to her brother? What color is her hair? Is it long or short, brown, blond or black, clean or greasy? Thick or curly? How is she dressed? Stylish or like a bum? Revealing or conservative? How does she smell? What kind of shoes is she wearing? Does she have any jewelry? What about makeup? Is she beautiful? Plain?
Before developing your fictional female character, spend a little time writing a paragraph about a girl or woman you know. Is she tall or short? Is she self-assured or tentative? Does she talk in short sentences? How does she dress—stylishly or haphazardly? By studying real persons, you can adopt some of their characteristics for your fictional character to help make the person more real and more interesting.
These simple exercises provide a first step to telling your story. Take your time and have fun. Next time we'll focus on describing how the sister enters the room to join her brother. So her character will be important in determining whether she runs into the room or sneaks in.
Joyce T. Strand
Author of the Jillian Hillcrest Mystery Series
http://joycestrand.com

What the Experts Say: Interview, Marja McGraw

[image error] Q-1: How do you get started writing your mysteries?

A: I start writing before my fingers ever touch the keyboard. An idea will present itself and I start making notes to myself. Sometimes I'll even think of a line of dialogue that I don't want to forget and sometimes that simple line can cause the story to change directions. However, in all honestly, I never know what's going to inspire a story. In the case of Old Murders Never Die, I was looking at some pictures I snapped of old buildings during a trip my husband and I took across Nevada. It suddenly struck me that a story about being stranded in a ghost town could be a lot of fun. It was, too.

I try to think of things that readers have enjoyed for generations, like a spooky old house, and start from there. Mystery readers, for the most part, enjoy dark and stormy nights and the readers are my inspiration. I try to give them what they want, as long as it's something I can enjoy, too. Believe it or not, I always have the reader in mind when I look for a story idea, but since I'm doing the writing it needs to be a storyline I can become involved in.

Occasionally I know exactly who the guilty party is before I start a book. However, there are times when the story takes a path I hadn't planned on and I end up changing culprits. The clues, or red herrings, fall into place as I write. I can't recall ever going back and adding a clue, although I have changed them slightly.

Writing mysteries, at least for me, isn't an exact science. Every author has their own process, and while mine may look a little haphazard, I think the end results speak for themselves.

Marja McGraw is originally from Southern California, where she worked in both criminal and civil law enforcement for several years.
Relocating to Northern Nevada, she worked for the State highway department. Marja also did a stint in Oregon where she worked for the County Sheriff's Office and where she owned her own business, a Tea Room/Antique store. After a brief stop in Wasilla, Alaska, she returned to Nevada.
Marja wrote a weekly column for a small newspaper in No. Nevada and she was the editor for the Sisters in Crime Internet Newsletter for a year and a half. She's appeared on television in Nevada, and she's also been a guest on various radio and Internet radio shows.
She writes the Sandi Webster Mysteries and the Bogey Man Mysteries, and says that each of her mysteries contain a little humor, a little romance and A Little Murder!
For additional information: http://www.marjamcgraw.com

Writing a Story: Exercise-by-Exercise - 3

[image error] As I noted in the first articles of this series (Go to tab "Story" for Exercises 1 and 2), writing readable prose is a multi-tasked process. However, we are simplifying the process to accelerate your status to that of author by breaking a story into components and using exercises to draft it one element at a time.
If you've tried to write, you know that words just don't automatically gush out to form sentences, paragraphs and stories. A writer chooses his words much like a painter chooses colors and brush-strokes to drive each paragraph to work together to complete the canvas. Instead of paint and colors, a writer uses character development, descriptive prose, and dialogue to create a compelling story.
We are telling a story based on the following plot.

~A boy enters a room. His sister joins him. They do their task. They leave the room together.~

In Exercise 1, we described the room the boy is entering. In Exercise 2 we created the character of the boy. For this current exercise, we are going to describe how the boy enters the room. Is he running? Does he go through a window, sliding glass doors, a trap door in the ceiling or the floor? Is he laughing or crying? Is he looking around furtively as if he's concerned someone sees him? Does he seem worried or carefree? What does he do to make you think he's either worried or carefree? Does he study the room? Does he look for something? Where does he go when he enters – to the middle of the room, or does he stand by the door?
Of course, the room as you described it in the previous exercise will have some bearing on how the boy enters it. If the room is a jail cell or a hospital room, he'll enter it differently than if it's a greenhouse or playroom. So if you haven't yet written your description of the room, you might want to take some time to do so now.
To help describe this fictional action, watch how someone enters a store, a supermarket or a building. Write the way the person performs the simple function of opening and closing a door and walking through it. Where do they look? Are they forceful or do they hang back? Are they preoccupied? Do they guard against getting their clothes dirty? Are they carefree?
These simple exercises provide a first step to telling your story. Take your time and have fun. Next time we'll focus on creating the second character—the boy's sister.
Joyce T. Strand
Author of the Jillian Hillcrest Mystery Series
http://joycestrand.com