Elizabeth Spann Craig's Blog, page 167
October 19, 2012
The Importance of Looking Ahead…and of Not Looking Ahead
by Elizabeth S. Craig, @elizabethscraig
The last few years, I’ve kept a very strict writing schedule—mostly because of the deadlines that I had from the two imprints I was working for, Penguin NAL/Obsidian and Penguin Berkley Prime Crime.
Some of the time the deadlines got really close to each other (which no one wanted—not me, my agent, nor my editors), but it just happened that way with the production schedules.
Sometimes I had hurry-up-and-wait scenarios, sometimes I was editing a book with one series and drafting one for another and promoting something that had just released with one of the series.
But it was all pretty much laid out for me—outline due to this editor by X date. Manuscript due to that editor by X date. Revisions back by X date. Pass pages approved by X date.
I’ve finished two books in late-spring/early summer that will come out in in February and July of next year. Now I’m working on a book that’s due in February and will release in 2014. In between, I wrote a book for self-publishing, which I’ll put out in November.
After that—I’m not sure what I’ll have on my plate because I’ll be out of contract. What usually happens is that the publishers like to look at sales of book 2 with the series to see if they want 2 or 3 more books after the 3rd book comes out. With the Memphis Barbeque series, they watched sales on book 2 and 3 and decided to contract me to a 4th book.
Hopefully, after February’s release, the numbers will be good and my editor for the quilting mysteries will ask for 2-3 more books to follow the one coming out in 2014…that would extend my work with Penguin into 2016 or 2017.
But that’s totally out of my hands. If I try to plan for more Memphis books or more quilting mysteries…there’s just no point. I could sketch out proposals for the next books (sometimes they’ll ask for that in the editorial meetings when they discuss extending the series with the publisher.) But there’s no way I’m going to make the assumption the series will continue and write the next books….it’s not like I can just change the character names and use the books some other way. The books are definitely branded to those series.
So…there’s no point in trying to figure out what’s going on in late 2013 and 2014. Looking ahead, in that respect, does no good at all. That’s like counting chickens before they hatch.
But planning ahead for stuff we can control makes a lot of sense. I’m eager to write more Myrtle Clover books. Demand for the series is up, sales are going well, and I’m the one who ultimately decides the future of that series. So my plans, post-February are for right now and unless I find out differently, to write two Myrtle Clover books from March—December 2013 and edit the 3rd quilting book for Penguin for its 2014 release.
Keeping busy by working on new projects is one of the best ways to survive the snail-like pace of the publishing schedule—whether you’re querying, waiting for revisions, or waiting for your book to release. Not only does it keep your skills sharp and keep you busy, but it can result in more stories to query or self-publish.
Why I like coming up with my own production plan for the next year (although I know it might be subject to change):
Deadlines help me stay motivated. I found with the self-pub book I just finished that it’s better if I apply a deadline for it like the ones I get from my publisher.
Seeing my plan in writing helps me approach the year in a more organized way—and I can even have a tentative budget in place for costs and possible earnings.
It gives me information/updates to post on my website. I’ve been actually, pleasantly, surprised that readers actually do seem to want to know what I’m working on. I noticed other writers putting their production schedules up on their websites and decided to give it a go. I’ve had nice feedback on that and a decrease in the number of emails I’d gotten asking when there would be a release for one of the series.
If you’re interested in making your own production plan for the next year (or even a five-year plan…I’ll include that link, too), here are some great posts to help you think it through:
Dean Wesley Smith’s: Think Like A Publisher: Production and Scheduling
This is D.D. Scott’s (a successful self-pubbed author’s) production plan for this year: The Indie Epub Journey: Ebook Production Schedules 101
Another example of a production schedule, with the addition of a business plan, from author Denise Grover Swank: A Business Plan for Self-Pubbed Authors.
Susan Kaye Quinn recommends we develop a five-year plan for our writing career in her post, The Incredible Lightness of Being Indie.
How are you approaching your writing and goals? Have you ever considered a production plan? Do you ever commit your goals to writing?
Image: MorgueFile: mensatic
October 16, 2012
Chapter Breaks and Cliffhangers
by Elizabeth S. Craig, @elizabethscraig
Every time I read a great post on cliffhangers, I feel a little sorry that I don’t write too many of them. It can make for a thrilling chapter ending, if the device isn’t overused.
I don’t actually spend very much time thinking about my chapter breaks. I write the books straight through with no chapter breaks at all, then insert the breaks before I hand the book over to my editor.
My chapter breaks were inserted fairly haphazardly until a couple of readers mentioned them….one in a review and one in an email. These folks wanted shorter chapters to accommodate their busy schedules and short amount of reading time.
Most of my chapters averaged 18 pages at the time that I got that reader feedback. Not really feeling very strongly about chapter breaks one way or the other, I decided to accommodate the readers and write shorter chapters…I started inserting chapter breaks about every 10-12 pages. I found that it did affect the pace of my books—it made the books read a bit faster….which is nice, for my genre.
What I generally do is look for a spot where there’s a good place for a break. Occasionally, there’s a spot that’s perfect for a break because there’ll be a dead body discovered. :) In that case, I rework the chapter breaks around that one to fit it in.
One thing that I try not to do is to close a chapter at the point when my character turns in for the night. I’d heard this wasn’t good because the reader would put the book down for the night, too. So I’ll usually just put a scene break, not a chapter break, there.
Some areas make great spots to put chapter breaks in. Every 10-12 pages, I look for interesting bits of dialogue (maybe the sleuth asks a suspect a leading question), someone making an announcement of some sort, a strong scene ending, a question the protagonist has posed or worried over, a moment of tension…and, sure, the typical cliffhanger moment: the moment the protagonist realizes someone is breaking into her house, the discovery of the dead body, the moment the killer confronts the sleuth…you know.
As a reader…yes, sometimes I do enjoy a good cliffhanger of a chapter ending. If it’s used at the end of every chapter, then I feel like it’s totally contrived. But sure—I love that moment where I decide that I just have to read the next chapter.
And I ran across a nice post on cliffhangers on the Moody Writing blog by Mooderino: Cliffhangers For Unscrupulous Writers. :) It lists eleven types of cliffhangers to use.
Do you use cliffhangers often? How long are your chapters or do they vary a lot in length? Where are your favorite spots to insert chapter breaks?
Every time I read a great post on cliffhangers, I feel a little sorry that I don’t write too many of them. It can make for a thrilling chapter ending, if the device isn’t overused. I don’t actually spend very much time thinking about my chapter breaks. I write the books straight through with no chapter breaks at all, then insert the breaks before I hand the book over to my editor.
My chapter breaks were inserted fairly haphazardly until a couple of readers mentioned them….one in a review and one in an email. These folks wanted shorter chapters to accommodate their busy schedules and short amount of reading time.
Most of my chapters averaged 18 pages at the time that I got that reader feedback. Not really feeling very strongly about chapter breaks one way or the other, I decided to accommodate the readers and write shorter chapters…I started inserting chapter breaks about every 10-12 pages. I found that it did affect the pace of my books—it made the books read a bit faster….which is nice, for my genre.
What I generally do is look for a spot where there’s a good place for a break. Occasionally, there’s a spot that’s perfect for a break because there’ll be a dead body discovered. :) In that case, I rework the chapter breaks around that one to fit it in.
One thing that I try not to do is to close a chapter at the point when my character turns in for the night. I’d heard this wasn’t good because the reader would put the book down for the night, too. So I’ll usually just put a scene break, not a chapter break, there.
Some areas make great spots to put chapter breaks in. Every 10-12 pages, I look for interesting bits of dialogue (maybe the sleuth asks a suspect a leading question), someone making an announcement of some sort, a strong scene ending, a question the protagonist has posed or worried over, a moment of tension…and, sure, the typical cliffhanger moment: the moment the protagonist realizes someone is breaking into her house, the discovery of the dead body, the moment the killer confronts the sleuth…you know.
As a reader…yes, sometimes I do enjoy a good cliffhanger of a chapter ending. If it’s used at the end of every chapter, then I feel like it’s totally contrived. But sure—I love that moment where I decide that I just have to read the next chapter.
And I ran across a nice post on cliffhangers on the Moody Writing blog by Mooderino: Cliffhangers For Unscrupulous Writers. :) It lists eleven types of cliffhangers to use.
Do you use cliffhangers often? How long are your chapters or do they vary a lot in length? Where are your favorite spots to insert chapter breaks?
October 14, 2012
Help Readers Suspend Disbelief (and Avoid Plot Holes)
by Elizabeth S. Craig, @elizabethscraig
The other night, I watched a mystery on television. The actors were good, the puzzle itself was good, and the setting—a boarding school— was interesting.
The problem that I absolutely couldn’t get past was that a horrible murder had occurred at this boarding school—and life at the school continued as usual, apart from the presence of the investigating officers.
As a parent, I’ve seen a phenomenon play out over the years, rightly or wrongly, where parents descend on a school en masse to retrieve their kids….for just about any reason.
Ice storm predicted to commence? They’re coming. A teacher somewhere at the school suffered a fatal heart attack on the grounds? They’re coming. Power outage in part of the school? They’re on their way. Crazed murderer stalking students on campus….oh, they’re SO there.
But in this production, classes resumed as usual (where are the guidance counselors and the child psychologists?), giving the killer another shot at a murder a couple of days after the first one—which, of course, the killer took advantage of.
I understood why the screenwriters set it up that way—they couldn’t shut down the murderer. The writers had an objective to accomplish. But once I fell into this plot hole, I couldn’t climb out of it…it bothered me that much. It simply wasn’t realistic at all.
What probably would have worked well is if they’d written in a short scene with concerned parents at the school, and the school administration and police calming down everyone and insisting that the school was safe. They needed to address the plot problem straight on. If they didn’t want to write that scene, they could even have shot a short scene in the dean’s office where he’s frantically fussing over the number of phone calls and meetings he’s had with parents to persuade them to keep their children at the school.
I’m well-acquainted with plot holes. Unfortunately, I sometimes write them into my own manuscripts. In the last editorial letter I got from my editor for the quilting mysteries, my editor pointed out that my elderly sleuth’s daughter would surely be more interfering than she was…especially considering the circumstances I’d put the sleuth in. She suggested an easy fix—temporarily distract the daughter by a huge task that she’s trying to undertake. Easy enough. The daughter wasn’t a cold-hearted person, but her lack of involvement came across to my editor that way.
The best way I’ve found to fix these issues is to address them head-on and early in the book. We usually create these problems purely because of plot convenience. Most of the time we can keep our set-up as long as we acknowledge the unbelievable part early and somehow offer an explanation. It’s not hard to do and it can prevent us from losing a reader.
Do you ever run into these kinds of plot problems as a reader, viewer, or writer?
Photo: Señalética Patricia, Flickr
The other night, I watched a mystery on television. The actors were good, the puzzle itself was good, and the setting—a boarding school— was interesting.The problem that I absolutely couldn’t get past was that a horrible murder had occurred at this boarding school—and life at the school continued as usual, apart from the presence of the investigating officers.
As a parent, I’ve seen a phenomenon play out over the years, rightly or wrongly, where parents descend on a school en masse to retrieve their kids….for just about any reason.
Ice storm predicted to commence? They’re coming. A teacher somewhere at the school suffered a fatal heart attack on the grounds? They’re coming. Power outage in part of the school? They’re on their way. Crazed murderer stalking students on campus….oh, they’re SO there.
But in this production, classes resumed as usual (where are the guidance counselors and the child psychologists?), giving the killer another shot at a murder a couple of days after the first one—which, of course, the killer took advantage of.
I understood why the screenwriters set it up that way—they couldn’t shut down the murderer. The writers had an objective to accomplish. But once I fell into this plot hole, I couldn’t climb out of it…it bothered me that much. It simply wasn’t realistic at all.
What probably would have worked well is if they’d written in a short scene with concerned parents at the school, and the school administration and police calming down everyone and insisting that the school was safe. They needed to address the plot problem straight on. If they didn’t want to write that scene, they could even have shot a short scene in the dean’s office where he’s frantically fussing over the number of phone calls and meetings he’s had with parents to persuade them to keep their children at the school.
I’m well-acquainted with plot holes. Unfortunately, I sometimes write them into my own manuscripts. In the last editorial letter I got from my editor for the quilting mysteries, my editor pointed out that my elderly sleuth’s daughter would surely be more interfering than she was…especially considering the circumstances I’d put the sleuth in. She suggested an easy fix—temporarily distract the daughter by a huge task that she’s trying to undertake. Easy enough. The daughter wasn’t a cold-hearted person, but her lack of involvement came across to my editor that way.
The best way I’ve found to fix these issues is to address them head-on and early in the book. We usually create these problems purely because of plot convenience. Most of the time we can keep our set-up as long as we acknowledge the unbelievable part early and somehow offer an explanation. It’s not hard to do and it can prevent us from losing a reader.
Do you ever run into these kinds of plot problems as a reader, viewer, or writer?
Photo: Señalética Patricia, Flickr
October 13, 2012
Twitterific
by Elizabeth S. Craig,
@elizabethscraig
Twitterific
is a compilation of all the writing links I shared the previous week.
The links are fed into the Writer’s
Knowledge Base search engine (developed by writer and software engineer Mike
Fleming) which has over 18,000 free articles on writing-related topics. Sign up
for our free newsletter for monthly writing tips and interviews with top
contributors to the WKB or like us on Facebook.
Try “My WKB”--a way
for you to list and sort articles, view your read articles, and see your search
history. Read more about it here: http://bit.ly/S9thqS .
The free My WKB page is here: http://bit.ly/PV8Ueb .
Teens and Dystopias: http://bit.ly/WpcH4J @scottwesterfeld
1 writer's position on fanfic: http://bit.ly/WpdJ0v @ceciliatan
The Stephen King Guide to
Marketing: http://bit.ly/O7ORcG @storyrally
Crafting Truly Bad Villains: http://bit.ly/O7P5AG @FaceAPStylebook
After The First Draft: Attitude
Is Everything: http://bit.ly/O7PhzV
@petersalomon @angelaackerman
Weaknesses–Our Hidden
Strengths: http://bit.ly/WpfUkO @Rllafevers
Creating Two-Word Characters: http://bit.ly/O7Pymm @nickthacker
12 Tips for Communicating
Criticism: http://bit.ly/WpiB5V @12most
13 Desktop Wallpapers To
Kickstart Your Creativity: http://bit.ly/Wpj5J3
The Struggle for Ideas: http://bit.ly/SXdkhN @janice_hardy
List of Writing Resources: http://bit.ly/PPK3WG @woodwardkaren
Desk exercises for writers: http://bit.ly/O7fvm4
Twitter networking tips: http://bit.ly/SCudSG
The Problem with Fantasy Maps: http://bit.ly/PFDQeM @LBGale
The benefit of free writing: http://bit.ly/SCuyEN @joe_bunting
Why Amazon Publishing? http://bit.ly/PFEx7R @thezombiebible
@passivevoiceblg
7 ways to build a platform
through blogging: http://bit.ly/PFEDMS
10 things 1 writer learned
about the publishing process: http://bit.ly/PFFhd4
@UndeadClay
12 reasons to write poetry: http://bit.ly/SCvcCo @kdbelmonte
Caring about your story and characters..but keeping yourself detached: http://bit.ly/OTLM1C @mkinberg
Using the Present to Inspire
Your Dystopian: http://bit.ly/SCvp8z
@GenniferAlbin
How To Get Amazon's Top
Customer Reviewers To Review Your Book: http://bit.ly/TacIFv
@thecreativepenn
Impact Characters: http://bit.ly/URIzfL @camillelaguire
How Do Writers Get Their Ideas?
Neil Gaiman, Seth Godin & Stephen King: http://bit.ly/RKb00z
@woodwardkaren
1 successful self-pubbed
author's recommendations for ebook pricing: http://bit.ly/TacSN2
@deanwesleysmith
An editor with a list of don'ts
for anthology submissions: http://bit.ly/RKbeoD
How To Outline a Book with
Trello: http://bit.ly/TacZIG @mediabistro
5 Ways to Convey a
Sense of Place: http://bit.ly/RMQtIO @LeFrenchBook
What Picasso Can Teach You As A
Screenwriter: http://bit.ly/RKbjIP
@jacobkrueger
Tricking Yourself Into
Creativity: http://bit.ly/Tad52U @thinkjar_
5 Reasons Writers Aren't the
Only Authority About Their Books: http://bit.ly/RKbrYN
@Care2Causes @passivevoiceblg
Fantasy As Escapism: Avoiding
Boredom or Uncertainty? http://bit.ly/Taddzg
@erchristensen
Creativity and IQ: http://bit.ly/RKbyU4 @iqmindware
Tips for pitching: http://bit.ly/Wo6lTg @rachellegardner
Finding the Best Place to
Write: http://bit.ly/TadQJf @howtowriteshop
6 Things To Do When Your Song
Is Finished: http://bit.ly/TafeeN
In Media Res: An Ancient Secret
for Beginning Your Novel: http://bit.ly/kqGf3S
@glencstrathy
8 Non-writing Apps for Writers:
http://bit.ly/Tafj27 @problogger
Our Storytelling Minds: Do We
Ever Really Know What's Going on Inside? http://bit.ly/RKdcoT
@mkonnikova
Writers Conferences: Are they
Relevant in the E-age? http://bit.ly/Tafomx
@annerallen
Plotting with index cards: http://bit.ly/RKdhsx @glencstrathy
Article Marketing Reprint
Strategy – Pros and Cons: http://bit.ly/TkTVN9
@karencv
Character Arc: The Hero's
Journey: http://bit.ly/WGNIdc
Use Article Writing To Discover
What You Value: http://bit.ly/TkUhU6
@thewritermama
What Unexpected Thunderstorms
Can Teach About Protecting the Work (avoiding publishing ind. negativity): http://bit.ly/WGOgQm @jan_ohara
Explaining your story's world
while avoiding exposition: http://bit.ly/NPmYG9
@dirtywhitecandy
5 bad habits of good writers: http://bit.ly/TkV2fF @AliciaRasley
How to Write so Google Finds
You: http://bit.ly/WGP5IW
Why Your Story's Conflict Isn't
Working: http://bit.ly/WGXz2K @KMWeiland
Why 1 agent goes to writers'
conferences: http://bit.ly/Tl40JR
@rachellegardner
11 factors for enhancing blog
readership: http://bit.ly/WGXSe3 @HeidiCohen
2 Unbreakable Laws of
Self-Publishing: http://bit.ly/Tl4hg3
@jamesscottbell @livewritethrive
Writing For Non-Paying Markets:
http://bit.ly/WHmkfb
Choosing Your Main Character
and His/Her Counterpart: http://bit.ly/m2JxUb
@glencstrathy
Authorial Words Containing
"WIP": http://bit.ly/TmtvL3
@Jan_Ohara
Online Writing Resources: http://bit.ly/WIotaD @danyelleleafty
Voice, Tone, and Costuming: http://bit.ly/TmtYNb
Enrich Your Writing By Keeping
It Simple: http://bit.ly/WIoKtZ
@sophie_novak
Motivating Stimulus and its
Importance to Your Novel: http://bit.ly/Tmuxqf
@AimeeLSalter
Top 10 things freelance writers
should check before turning in a story: http://bit.ly/WIpgs3
@michellerafter
5 Tips to Overcome Fear of
Rejection: http://bit.ly/Tmv5fK @lafreeland
The Theology of Screenwriting:
Sin: http://bit.ly/WIpWh1 @gointothestory
Tips for better dialogue: http://bit.ly/Tmvr68 @mooderino
Tips for writing humor: http://bit.ly/WIqJhO
"Emotional
glue"--what it is, and how to include it in your story: http://bit.ly/R7F5Ys
When Do Clauses Need Commas ( a
Review): http://bit.ly/WIz0SX @noveleditor
The value of a great ending: http://bit.ly/R7FfPy @79SemiFinalist
3 Steps to Creating Your Own
Writing Luck: http://bit.ly/WIzhFF
@writeitsideways
How To Know If You've
"Made It" As a Writer: http://bit.ly/R7FtWV
@krissybrady
Tips for getting to know your
protagonist: http://bit.ly/WIzJUd
@DeeWhiteAuthor
8 Secrets Of Successful Indie
Romance Writing: http://bit.ly/R7G0bF
@woodwardkaren
3 Tips For Getting Your Music
In A Commercial: http://bit.ly/WIAkW0
Preparing for a Conference: http://bit.ly/R7GgY2
10 Novels That Deserve a
Prequel: http://bit.ly/TdyW9x @flavorpill
Need Inspiration? Expand Your
Horizons: http://bit.ly/RMO5la
1 writer's editing process: http://bit.ly/TdzsVa @authorterryo
How to Define a Bulletproof
Work-at-Home Mindset: http://bit.ly/RMOh3W
@JWhite
60 Affirmations for Authors,
Writers, and Poets: http://bit.ly/TdzP1R
Interview with
Writer/Illustrator Debbie Ohi: http://bit.ly/TdA90A
@inkyelbows
The High Bar of Finding an
Agent or Publisher: http://bit.ly/TdAbFG
@jamigold
The Power of Story: http://bit.ly/TdAjFo @lisaunger @junglereds
Building Your First Website:
Resource List: http://bit.ly/RMOEeU
@janefriedman
Wrangling Long Sentences: http://bit.ly/TdB952 @theresastevens
When Should a Writer Stop
Marketing a Book? http://bit.ly/RMPfNF
@jodyhedlund
Facebook vs. Twitter: Where The
Readers Are: http://bit.ly/RMPFDS @roniloren
How writers can use Evernote to
get organized, be more productive: http://bit.ly/TdBJ2L
@michellerafter
Focus Your Creativity Using
Visual Methods: http://bit.ly/TdBO6v
@originalimpulse
Ebook pricing & Extending
Pottermore concepts to other brands: http://bit.ly/RAcOau
@Porter_Anderson @philipdsjones @charliered66
Find and Replace with Word,
Using Wildcards (helpful when formatting): http://bit.ly/RMPQyN
via @woodwardkaren
Let your characters be wrong: http://bit.ly/TdBZ1u @juliettewade
How To Format A Word Document
For Amazon's KDP Publishing Program: http://bit.ly/RMPY1r
@woodwardkaren
Character motivation: belief or
disbelief in a genetic predisposition to violence: http://bit.ly/TdCclh
On Perfection and Painting: http://bit.ly/OT0Mg7 @nadinekenney
Covert bullying in YA: http://bit.ly/UQVFd3 @Word_Tapestry
@jeanniecampbell
Resisting the 3 Steps to
Embracing Your Muse: http://bit.ly/OT15aR
@PatrickRwrites
A technique for networking on
Twitter: http://bit.ly/UQVLl0 @alexisgrant
Writing Fictional Curses: http://bit.ly/OT1jPh @chihuahuazero
5 Free Services That Help You
Build an Author Platform: http://bit.ly/UQVRsK
@janefriedman @turndog_million
The heroine's journey: http://bit.ly/OT1D0i
2 subcategories of heroes and
villains: http://bit.ly/UQWlzc
@SophieMasson1
So you've got an agent. Now
what? http://bit.ly/OT2rCt
Generating Suspense in Fiction:
http://bit.ly/UQWC55 @luannschindler
The Power of Reaction: http://bit.ly/OT2AWo @kid_lit
Why the Adverb Isn't as Dead as
Mark Twain Would Like: http://bit.ly/UQWDWO
@KMWeiland
Revision: Six Steps to Story
Strength: http://bit.ly/OT2IoN
@howtowriteshop
31 Book Marketing Ideas: http://bit.ly/OT31jr @duolit
Tips for Sideloading Ebooks: http://bit.ly/UQX1EC @susankayequinn
How To Find the Top Customer
Reviewers on Amazon: http://bit.ly/OT3dPC
@galleycat
What to Bring to a Book Fair to
Sell Your Books: http://bit.ly/UQXaI6
@beth_barany
3 Ways to Make a Good Story
Great: http://bit.ly/OT3m5G @yeomanis
Frankfurt Book Fair: "Mr.
Bezos, tear down this wall!": http://bit.ly/Q4V5q1
@Porter_Anderson @jwikert
5 Ways to Deal With Down Days: http://bit.ly/TFyBCb @ajackwriting
Increase Sales by Writing for
the Web More Effectively: http://bit.ly/Q4VpFh
@KarenCV
Why 1 Writer Volunteers for
Writing Festivals (and Why We Should, Too): http://bit.ly/Q4VQiK
@writerscramp1
Why Do Books Have Chapters? http://bit.ly/Q4VWqR @ClarionUCSD
Using Distant and Tight Third
Person: http://bit.ly/Q4W21y @susanjmorris
Craft: 3 Tips From an Agent: http://bit.ly/TFzH0T @Porter_Anderson
@JennyBent
Query writing tips: http://bit.ly/Q4WrB1 @amandaccarlson
3 Ways to Make a Good Story
Great: http://bit.ly/OT3m5G @yeomanis
Do You Believe These 3
Publishing Myths? http://bit.ly/TFAjnd
@JFBookman
5 Steps to Yes: Make a Good
Impression with Your Cover Letter: http://bit.ly/Q4WGMD
@ClarionUCSD
How to Choose Critique
Partners: http://bit.ly/TFADC9 @ava_jae
Content is King: http://bit.ly/Q4X4uo @kristinerusch
Where is Urban Fantasy Headed? http://bit.ly/TFBkvl @sfsignal
The conference prowl: http://bit.ly/TFC8k1 @LAGilman
Tips for Writing A Great Duel
Scene: http://bit.ly/Q4Yc1c
12 Imaginary Places: http://bit.ly/Q4YhlA @writing_tips
Your Facebook Page May Be
Blocking Your Fans: http://bit.ly/TFCxTy
@roniloren
hree Ways to End a Horror
Story: http://bit.ly/Q4YqW2 @ClarionUCSD
MFA Programs: A Peacemaker's
Viewpoint: http://bit.ly/TFCW8i @ZanyLetters
@Porter_Anderson
When the protagonist becomes
worse than the antagonist: http://bit.ly/QWg0zt
@glencstrathy
The Power of "I" in
Your Blog: http://bit.ly/RmkwEO
@PatrickRwrites
Structure vs. Strategy: http://bit.ly/RmkE7k @storyfix
6 Ways to Make Your Readers
Hate You: http://bit.ly/Rml39D
@write_practice
First Line to Last Line: A Fine
Balance: http://bit.ly/Rmlfps
@randysusanmeyer
Elements of YA: http://bit.ly/QWgwgQ
7 Ways Twitter Sharpens Your
Writing: http://bit.ly/RmlGA2
How to Write Proficiently About
Things You Don't Know: http://bit.ly/QWgJRh
@jodyhedlund
October 11, 2012
Looking at Life Through a Lens
by Elizabeth S. Craig, @elizabethscraig
I’d been wanting to read something a little different, so I glanced through my TBR (to be read) list. Keith Richards’
Life
was on there, and I figured I couldn’t possibly go any different than that. I’d become interested in him because I’d read an article in the Times UK a couple of years ago that Richards had always had a longing to be a librarian.
The book was an interesting read—definitely eye-opening in sections. :) And entertaining, since I have such a quiet life and am a pretty reserved person and Keith Richards…we’ll just say that Keith and I don’t have much in common. Well, except for the fact that we’re both parents. And one other similarity—the way we both observe the world through a lens:
Richards, Keith (2010-10-26). Life (p. 183). Hachette Book Group. Kindle Edition.
Some days it all comes naturally to me and everything is a story. Some days I have to remind myself that I’m looking for material, words, character descriptions and quirks, etc.
If you ever find yourself blocked, a change of scenery can frequently do an amazing amount of good. Not only are you escaping your house and whatever might be distracting you/keeping you from working, but you also have the opportunity to be inspired by other people and places.
I’ll sit in the carpool line at the high school and work to finish my page goal that I start each morning. I have the car off and the windows down and I’m completely surrounded by characters…usually the same characters each day, too, so the characters' stories unfold as a serial. The woman who comes in backwards on the one-way school driveway each day (even though a cop stopped her a week ago and gave her a warning.) The grandfather who listens to World War II era songs in his car while eating a pack of crackers. The middle aged guy who drums his fingers on the side of his car while staring off into space.
I’m a character too, writing every day as I wait. I push my seat all the way back to accommodate my laptop. Sometimes I’ll accidentally blow my car horn from enthusiastic typing. :)
Do you write on the go much? Do you feel like you look at the world through a lens?
Image: MorgueFile—Procrastinator
I’d been wanting to read something a little different, so I glanced through my TBR (to be read) list. Keith Richards’
Life
was on there, and I figured I couldn’t possibly go any different than that. I’d become interested in him because I’d read an article in the Times UK a couple of years ago that Richards had always had a longing to be a librarian. The book was an interesting read—definitely eye-opening in sections. :) And entertaining, since I have such a quiet life and am a pretty reserved person and Keith Richards…we’ll just say that Keith and I don’t have much in common. Well, except for the fact that we’re both parents. And one other similarity—the way we both observe the world through a lens:
The radar is on whether you know it or not. You cannot switch it off. You hear this piece of conversation from across the room, “I just can’t stand you anymore”… That’s a song. It just flows in. And also the other thing about being a songwriter, when you realize you are one, is that to provide ammo, you start to become an observer, you start to distance yourself. You’re constantly on the alert. That faculty gets trained in you over the years, observing people, how they react to one another. Which, in a way, makes you weirdly distant. You shouldn’t really be doing it. It’s a little of Peeping Tom to be a songwriter. You start looking round, and everything’s a subject for a song.
Richards, Keith (2010-10-26). Life (p. 183). Hachette Book Group. Kindle Edition.
Some days it all comes naturally to me and everything is a story. Some days I have to remind myself that I’m looking for material, words, character descriptions and quirks, etc.
If you ever find yourself blocked, a change of scenery can frequently do an amazing amount of good. Not only are you escaping your house and whatever might be distracting you/keeping you from working, but you also have the opportunity to be inspired by other people and places.
I’ll sit in the carpool line at the high school and work to finish my page goal that I start each morning. I have the car off and the windows down and I’m completely surrounded by characters…usually the same characters each day, too, so the characters' stories unfold as a serial. The woman who comes in backwards on the one-way school driveway each day (even though a cop stopped her a week ago and gave her a warning.) The grandfather who listens to World War II era songs in his car while eating a pack of crackers. The middle aged guy who drums his fingers on the side of his car while staring off into space.
I’m a character too, writing every day as I wait. I push my seat all the way back to accommodate my laptop. Sometimes I’ll accidentally blow my car horn from enthusiastic typing. :)
Do you write on the go much? Do you feel like you look at the world through a lens?
Image: MorgueFile—Procrastinator
October 8, 2012
5 Ways to Convey a Sense of Place—Guest Post by Anne Trager
By Anne Trager, the founder of Le French Book, @LeFrenchBook
I recently translated a fun, classic whodunit from French into English for Le French Book. It’s called Treachery in Bordeaux and was written by two Epicurean French men, Jean-Pierre Alaux and Noël Balen. It is set in, well, Bordeaux. When you hear the name Bordeaux, you think wine. In my case at least. And wine is a large part of the story, and a key element in the whole Winemaker Detective series (there are 20 books to date in French).
Yet, as much as the story is about wine, it is also about place, about Bordeaux, city and region, past and present. Here are five of the ways the authors got across that sense of place.
1) Opening with setting. The authors chose to give an immediate sense of place in the opening paragraph. Note the hint of timelessness:
The morning was cool and radiant. A west wind had swept the clouds far inland to the gentle hills beyond the city of Bordeaux. Benjamin Cooker gave two whistles, one short, the other drawn out, and Bacchus appeared from the high grass on the riverbank… The Médoc was still wild, despite its well-ordered garden veneer, and it would always be that way. In the distance, a few low wisps of fog were finishing their lazy dance along the Gironde Estuary.
2) Focusing on details. Notice the use of something everyone can relate to, which immediately puts the readers right there in Bordeaux itself:
As they approached the limits of Médoc, traffic slowed little by little until it stopped entirely on the boulevards. Construction bogged the city down, disfiguring it everywhere with orange-yellow signs that looked like they belonged in a cheap carnival. Cranes stood with empty hooks, and aggressive bulldozers lumbered like large lazy insects. The tramway—silent, shiny and bright—would soon rise from this tangled mess that had mired the city for several months. Some irritated Bordeaux residents honked without any illusions of being able to move along, while others just put up with it silently.
3) Using the senses. The five of them have this way of grabbing the imagination:
The Rue des Faures smelled of lamb. A heavy aroma of spices and grilled meat rose up in thick swirls from the hodgepodge of Arab shops, suitcase salesmen and faded bistros.
4) Juxtaposing disparate elements. After a scene that advances the story, we return to the same street. Notice the modern and historic all mixed together, and the refined Cooker with his greasy sandwich:
When he stepped out of the workshop, he crossed the Place Saint-Michel and bought a lamb kebab from a tiny take-out. Then he went to sit at the base of the bell tower facing the church. Around him, a group of acne-faced teenagers were playing with a soft-drink can. Young Kabyles from northern Algeria formed another group under a basketball hoop near the Gothic bell tower. On the steps in front of the church, a couple of lovers whispered to each other. Nobody paid any attention to Benjamin Cooker. The sun was warm, and no heads turned to see him savor his too-fatty, too-spicy overcooked sandwich that should have ended up in the first garbage can he found.
5) Using dialogue. Not to be neglected to introduce elements of place:
“This is the first time I’ve been here. I had no idea that the development was so spread out,” Cooker noted, thinking it best to change the subject.
“It’s a ghost town, a concrete cemetery, that’s what it has become! And the middle classes get off on moving into a historical area. It’s all being bought up by architects, doctors, lawyers—people who think they know something. They invest in cultural heritage. Some heritage. Just junk!”
The authors use other techniques as well, such as character descriptions that compare and contrast with preconceived ideas readers may have about a place and the use of a painting compared to an actual place. They are particularly skilled at getting across a sense of actually being there, in the city of Bordeaux in transition, but also in the vineyards. I’d feel I were cheating you if I didn’t give you one more quote from among the actual grapevines:
The winemaker took advantage of the moment to get a closer look at the new cabernet franc stock that had just been planted on a small parcel. Tender sprouts were starting to bud; they would not give clusters for another two or three years. He glanced over the meticulous rows of vines, quickly judging the state of the soil composed of thick Gunz gravel, sand and clay and noted with pleasure that the vineyards had just been plowed. His eyes stopped for a moment on the Haut-Brion estate hilltop that dominated the neighborhood.
I’ll leave you to read it for the descriptions of the wines!
Le French Book is having a special promotion ofTreachery in Bordeaux starting on October 9. They are giving away a trip to France, French wine (of course) and lots of other gifts, and dropped the usual list price for a limited time. Check it out:
http://www.treacheryinbordeaux.com
About the authors
Jean-Pierre Alaux is a magazine, radio and television journalist when he is not writing novels in southwestern France. He is a genuine wine and food lover, the grandson of a winemaker and exhibits a real passion for wine and winemaking. For him, there is no greater common denominator than wine. He gets a sparkle in his eye when he talks about the Winemaker Detective series, which he coauthors with Noël Balen. Noël lives in Paris, where he shares his time between writing, making records, and lecturing on music. He plays bass, is a music critic and has authored a number of books about musicians in addition to his novel and short-story writing.
About the translator
The translator, Anne Trager has lived in France for over 26 years, working in translation, publishing and communications. In 2011, she woke up one morning and said, “I just can’t stand it anymore. There are way too many good books being written in France not reaching a broader audience.” That’s when she founded Le French Book to translate some of those books into English. The company’s motto is “If we love it, we translate it,” and Anne loves crime fiction about as much as she loves wine.
Buy links for Treachery in Bordeaux:
Amazon
B&N
iBooks
Kobo
I recently translated a fun, classic whodunit from French into English for Le French Book. It’s called Treachery in Bordeaux and was written by two Epicurean French men, Jean-Pierre Alaux and Noël Balen. It is set in, well, Bordeaux. When you hear the name Bordeaux, you think wine. In my case at least. And wine is a large part of the story, and a key element in the whole Winemaker Detective series (there are 20 books to date in French).Yet, as much as the story is about wine, it is also about place, about Bordeaux, city and region, past and present. Here are five of the ways the authors got across that sense of place.
1) Opening with setting. The authors chose to give an immediate sense of place in the opening paragraph. Note the hint of timelessness:
The morning was cool and radiant. A west wind had swept the clouds far inland to the gentle hills beyond the city of Bordeaux. Benjamin Cooker gave two whistles, one short, the other drawn out, and Bacchus appeared from the high grass on the riverbank… The Médoc was still wild, despite its well-ordered garden veneer, and it would always be that way. In the distance, a few low wisps of fog were finishing their lazy dance along the Gironde Estuary.
2) Focusing on details. Notice the use of something everyone can relate to, which immediately puts the readers right there in Bordeaux itself:
As they approached the limits of Médoc, traffic slowed little by little until it stopped entirely on the boulevards. Construction bogged the city down, disfiguring it everywhere with orange-yellow signs that looked like they belonged in a cheap carnival. Cranes stood with empty hooks, and aggressive bulldozers lumbered like large lazy insects. The tramway—silent, shiny and bright—would soon rise from this tangled mess that had mired the city for several months. Some irritated Bordeaux residents honked without any illusions of being able to move along, while others just put up with it silently.
3) Using the senses. The five of them have this way of grabbing the imagination:
The Rue des Faures smelled of lamb. A heavy aroma of spices and grilled meat rose up in thick swirls from the hodgepodge of Arab shops, suitcase salesmen and faded bistros.
4) Juxtaposing disparate elements. After a scene that advances the story, we return to the same street. Notice the modern and historic all mixed together, and the refined Cooker with his greasy sandwich:
When he stepped out of the workshop, he crossed the Place Saint-Michel and bought a lamb kebab from a tiny take-out. Then he went to sit at the base of the bell tower facing the church. Around him, a group of acne-faced teenagers were playing with a soft-drink can. Young Kabyles from northern Algeria formed another group under a basketball hoop near the Gothic bell tower. On the steps in front of the church, a couple of lovers whispered to each other. Nobody paid any attention to Benjamin Cooker. The sun was warm, and no heads turned to see him savor his too-fatty, too-spicy overcooked sandwich that should have ended up in the first garbage can he found.
5) Using dialogue. Not to be neglected to introduce elements of place:
“This is the first time I’ve been here. I had no idea that the development was so spread out,” Cooker noted, thinking it best to change the subject.
“It’s a ghost town, a concrete cemetery, that’s what it has become! And the middle classes get off on moving into a historical area. It’s all being bought up by architects, doctors, lawyers—people who think they know something. They invest in cultural heritage. Some heritage. Just junk!”
The authors use other techniques as well, such as character descriptions that compare and contrast with preconceived ideas readers may have about a place and the use of a painting compared to an actual place. They are particularly skilled at getting across a sense of actually being there, in the city of Bordeaux in transition, but also in the vineyards. I’d feel I were cheating you if I didn’t give you one more quote from among the actual grapevines:
The winemaker took advantage of the moment to get a closer look at the new cabernet franc stock that had just been planted on a small parcel. Tender sprouts were starting to bud; they would not give clusters for another two or three years. He glanced over the meticulous rows of vines, quickly judging the state of the soil composed of thick Gunz gravel, sand and clay and noted with pleasure that the vineyards had just been plowed. His eyes stopped for a moment on the Haut-Brion estate hilltop that dominated the neighborhood.
I’ll leave you to read it for the descriptions of the wines!
Le French Book is having a special promotion ofTreachery in Bordeaux starting on October 9. They are giving away a trip to France, French wine (of course) and lots of other gifts, and dropped the usual list price for a limited time. Check it out:
http://www.treacheryinbordeaux.com
About the authors
Jean-Pierre Alaux is a magazine, radio and television journalist when he is not writing novels in southwestern France. He is a genuine wine and food lover, the grandson of a winemaker and exhibits a real passion for wine and winemaking. For him, there is no greater common denominator than wine. He gets a sparkle in his eye when he talks about the Winemaker Detective series, which he coauthors with Noël Balen. Noël lives in Paris, where he shares his time between writing, making records, and lecturing on music. He plays bass, is a music critic and has authored a number of books about musicians in addition to his novel and short-story writing.About the translator
The translator, Anne Trager has lived in France for over 26 years, working in translation, publishing and communications. In 2011, she woke up one morning and said, “I just can’t stand it anymore. There are way too many good books being written in France not reaching a broader audience.” That’s when she founded Le French Book to translate some of those books into English. The company’s motto is “If we love it, we translate it,” and Anne loves crime fiction about as much as she loves wine.Buy links for Treachery in Bordeaux:
Amazon
B&N
iBooks
Kobo
October 7, 2012
Reading What You Write
by Elizabeth S. Craig, @elizabethscraig
MorgueFile: xenia
I received an email a week ago from one of my blog readers.
She said that she repeatedly heard the advice that writers needed to read. But, she asked, what should writers read? What’s most helpful to a writer when they’re trying to start out? She said she’d been overwhelmed by the sheer number of books and felt she needed some direction—that sometimes she felt like the books she was picking didn’t really help her learn more of the craft.
It is overwhelming to find a book these days. The number of books in any genre is skyrocketing as writers write faster and publish books themselves.
And there are only so many hours in the day. It’s a good idea for most of us to have a targeted approach if we’re reading to learn more about our genre.
The first thing I’d do is narrow down what you’re most interested in writing. Most genres have subgenres. So, if you’re a fantasy or science fiction writer, are you interested in writing dystopian novels? Steampunk? Space Operas? Urban fantasy?
You could spend a lot of time reading the classics in your genre—but I wouldn’t spend all my time reading my genre’s classics. If you’re writing for a modern market, you’re going to want to see what’s selling now. It’s important to also see how the genre got from its past to its present, but I wouldn’t spend all my time doing that.
So….subgenres, modern books. The next thing I’d do is find the top writers of that genre…writers who have received critical acclaim. The quickest way to do that is to find the awards given for that genre and see who the most recent recipients are. For science fiction, you’re going to be looking at the Arthur C. Clarke award, the Hugo Award, among others.
For romance, you’ll focus primarily on the RITA awards. There’s also the RT Book Reviews awards and reader awards on sites like All About Romance.
For mystery, Agatha, Anthony, Edgar, and Left Coast are probably the biggest.
I could go on and on—but this post would too, so I’m stopping here. :) But there are tons of these awards….Google your genre+awards and see what comes up first (and, obviously, who’s sponsoring it and how prestigious it seems to be.)
Book bloggers are another great way of finding great books (especially the most recently published books that wouldn’t have gotten any awards yet.) This directory of book bloggers (Book Blogger Directory) is a good way to get started.
I request books I’m interested in from my library’s website, reserving them with my library card number. When I really like a book, I’ll frequently buy it and re-read it for years.
Now…that’s a great way to find books that work. You can read those books and note things like: Pace—How quickly is the story moving? What does the writer do to pick up or slow down the pace?
Nuts and Bolts/Structure—How does the book hook you at the start? Where is the inciting incident? Length of the chapters? POV? How are the transitions handled? How was the mood developed? Is there a theme to the book? (In mysteries---when is the body discovered? How many suspects are there? Each genre will have its own specific patterns to look for.)
Characters—How are they described? Developed? What motivates them? How are they used to create conflict? What makes the protagonist compelling? What’s the character arc?
Language—What literary elements are used and how effective are they?
You can learn a lot from a good book, but you can also learn a lot from a bad one—by noticing where it fails. You can see how it didn’t hit the mark with the elements I listed above. It also makes you feel a little more confident as a writer to read a really, really awful book.
How do you find good books in your genre? How do you make time to read them? What kinds of things are you looking at when you read a book critically?
MorgueFile: xenia
I received an email a week ago from one of my blog readers.
She said that she repeatedly heard the advice that writers needed to read. But, she asked, what should writers read? What’s most helpful to a writer when they’re trying to start out? She said she’d been overwhelmed by the sheer number of books and felt she needed some direction—that sometimes she felt like the books she was picking didn’t really help her learn more of the craft.
It is overwhelming to find a book these days. The number of books in any genre is skyrocketing as writers write faster and publish books themselves.
And there are only so many hours in the day. It’s a good idea for most of us to have a targeted approach if we’re reading to learn more about our genre.
The first thing I’d do is narrow down what you’re most interested in writing. Most genres have subgenres. So, if you’re a fantasy or science fiction writer, are you interested in writing dystopian novels? Steampunk? Space Operas? Urban fantasy?
You could spend a lot of time reading the classics in your genre—but I wouldn’t spend all my time reading my genre’s classics. If you’re writing for a modern market, you’re going to want to see what’s selling now. It’s important to also see how the genre got from its past to its present, but I wouldn’t spend all my time doing that.
So….subgenres, modern books. The next thing I’d do is find the top writers of that genre…writers who have received critical acclaim. The quickest way to do that is to find the awards given for that genre and see who the most recent recipients are. For science fiction, you’re going to be looking at the Arthur C. Clarke award, the Hugo Award, among others.
For romance, you’ll focus primarily on the RITA awards. There’s also the RT Book Reviews awards and reader awards on sites like All About Romance.
For mystery, Agatha, Anthony, Edgar, and Left Coast are probably the biggest.
I could go on and on—but this post would too, so I’m stopping here. :) But there are tons of these awards….Google your genre+awards and see what comes up first (and, obviously, who’s sponsoring it and how prestigious it seems to be.)
Book bloggers are another great way of finding great books (especially the most recently published books that wouldn’t have gotten any awards yet.) This directory of book bloggers (Book Blogger Directory) is a good way to get started.
I request books I’m interested in from my library’s website, reserving them with my library card number. When I really like a book, I’ll frequently buy it and re-read it for years.
Now…that’s a great way to find books that work. You can read those books and note things like: Pace—How quickly is the story moving? What does the writer do to pick up or slow down the pace?
Nuts and Bolts/Structure—How does the book hook you at the start? Where is the inciting incident? Length of the chapters? POV? How are the transitions handled? How was the mood developed? Is there a theme to the book? (In mysteries---when is the body discovered? How many suspects are there? Each genre will have its own specific patterns to look for.)
Characters—How are they described? Developed? What motivates them? How are they used to create conflict? What makes the protagonist compelling? What’s the character arc?
Language—What literary elements are used and how effective are they?
You can learn a lot from a good book, but you can also learn a lot from a bad one—by noticing where it fails. You can see how it didn’t hit the mark with the elements I listed above. It also makes you feel a little more confident as a writer to read a really, really awful book.
How do you find good books in your genre? How do you make time to read them? What kinds of things are you looking at when you read a book critically?
October 6, 2012
Twitterific
by Elizabeth S. Craig, @elizabethscraig
Twitterific is a compilation of all the writing links I shared the previous week.
The links are fed into the Writer’s Knowledge Base search engine (developed by writer and software engineer Mike Fleming) which has over 18,000 free articles on writing-related topics. Sign up for our free newsletter for monthly writing tips and interviews with top contributors to the WKB or like us on Facebook.
Try “My WKB”--a way for you to list and sort articles, view your read articles, and see your search history. Read more about it here: http://bit.ly/S9thqS . The free My WKB page is here: http://bit.ly/PV8Ueb .
Have a great week!
Ebook authors shouldn't put all
their eggs in one basket: http://bit.ly/V5pUSa
@camillelaguire
Tips for writing tense action
scenes: http://bit.ly/V7izS2 @JodieRennerEd
@stacygreen26
The use of incorrect first
impressions in crime fiction: http://bit.ly/Sk8Gjv
@mkinberg
Finger pointing between
publishers and libraries: http://bit.ly/SkqXgy
@Porter_Anderson @JDGsaid
10 Excuses for Not Writing -
and How to Smash Them: http://bit.ly/PgLcFd
@KMWeiland
Fantasy Influences: Ancient
Greek Mythology: http://bit.ly/PgLg8a
@fantasyfaction
Thoughts on chapter breaks: http://bit.ly/PgLrA7
The Writer's Block Myth: http://bit.ly/SLX8VN @kkuseklewis
Chart a course to your dream: http://bit.ly/SLXgVf @sarahahoyt
Entries in the character trait
thesaurus: just-- http://bit.ly/PgLWdD and
modest--http://bit.ly/PgLWdE @angelaackerman
Conflict is Key: http://bit.ly/PgM78F @heidiwriter
A free directory of #ebook
pros--for covers, editing, formatting, & more: http://tinyurl.com/3mxg5zt #epub
5 Sentences That Should Save
the Best Until Last: http://bit.ly/PgQL6P
@writing_tips
Writing For Real: http://bit.ly/SM3sfT @AmySueNathan
Write what you don't know you
know: http://bit.ly/SM6gtn @thebookslut
On Genre Categorization: http://bit.ly/PgTiO6 @literaticat
Are you selling your book to
the wrong readers? http://bit.ly/SM6uAJ
@rule17
Pitching your potential: http://bit.ly/PgTw81 @rachellegardner
Using all the senses while
writing: http://bit.ly/PgTEEB @noveleditor
Build A Fulltime Writing Career
Slowly: http://bit.ly/SM6LDJ @goblinwriter
@thecreativepenn
How to Write an Author Bio When
You Don't Feel Like an Author…Yet : http://bit.ly/PgTIUF
@annerallen
Serialising a novel--what to do
when the show is over: http://bit.ly/Ri5ZMw
@dirtywhitecandy
10 Best Science Fiction and
Fantasy Fight Settings: http://bit.ly/Qz7KCl
@lbgale
3 Reasons Why Coercing Readers
Into Newsletter Subscriptions Is a Bad Idea: http://bit.ly/RbGU5W
@roniloren
Ebook Publishing
Platforms:“They’re a Joke”: http://bit.ly/O8ug8b
@Porter_Anderson @fakebaldur
Character Development:
Exploiting Weaknesses: http://bit.ly/POJ2Pm
@ava_jae
The Influence Of History On
Epic Fantasy: http://bit.ly/PNPq9x
@fantasybookcrit
A writer talks about his
experience dealing with depression: http://bit.ly/QsNaq6
@chrisbrogan
How to Write Great Sales Copy
for Your Ebook: http://bit.ly/QDYfVN
@LauraHoward78
The Struggle for Ideas: http://bit.ly/SXdkhN @janice_hardy
How to Be a Writer: 201 Tips: http://bit.ly/QDYsZa
An Indie Author's Up and Down
Publishing Journey: http://bit.ly/SXds0B
@author54 @livewritethrive
Lessons Learned at the Killer
Nashville Conference: http://bit.ly/QDYOij
@kelseybrowning
The Internet: seducer,
scapegoat or serendipity stall? http://bit.ly/SXdDZW
@annerooney
A useful resource for
describing settings, emotions, shapes, textures, and more: http://bit.ly/eIGRMO @AngelaAckerman
What Is An Author Platform and
How Do You Create It? http://bit.ly/QDZhB1
@karencv
Allowing Your Blogging Voice to
Evolve: http://bit.ly/SXdJAy @PatrickRwrites
The most shocking part of the
sock-puppet scandal? http://bit.ly/QDZAfc
@thefuturebook
A Writer's Colony Lesson You
Can Apply to You Career: http://bit.ly/SXdO7q
@alexisgrant
Switching Point-of-View
Characters Mid-Paragraph: http://bit.ly/QDZPqK
@LindaGray_
A WordPerfect World: http://bit.ly/QDZVyH @bookviewcafe
10 Bright Beginnings and their
Promises: http://bit.ly/SXe2eV
The Impact Equation for
Platform Building: http://bit.ly/QE0gRL
@chrisbrogan
Making the Most of Ideas—The
Quest: http://bit.ly/SXe728 @davidbcoe
Charting Your Story's Rising
Action: http://bit.ly/QE0Ajw @JulieEshbaugh
Characters who are impartial
observers: http://bit.ly/SXeCt1 @kid_lit
Google’s Digitizing: Settled at
Last: http://bit.ly/R1daGB @jeffjohnroberts
@EdNawotka @philipdsjones @porter_anderson
Don't Leave Your Characters in
Limbo: http://bit.ly/QE2bG9 @melissatydell
How to Meet Your Writing
Deadlines (Every Time): http://bit.ly/SXeLwD
@krissybrady
How to Weave a Story to
Captivate Your Audience: http://bit.ly/QE2sc9
@SeandSouza
Why we really must kill our
darlings: http://bit.ly/QE2Irn
@kristenlambTX
Change Begets Growth: http://bit.ly/SXeZ70 @BeccaPuglisi
Every Character is Important: http://bit.ly/QE2YH5 @ava_jae
It's a Great Day to Be a
Writer: http://bit.ly/SXf3DG @susankayequinn
Refresh And Reboot Yourself In
12 Easy Steps: http://bit.ly/QE38Oz
@ollinmorales
A therapist gives YA writers
insight into teens: http://bit.ly/SXf5LK
@jeanniecampbell
5 Beatles Songwriting Tricks: http://bit.ly/V7noux @usasongs
Mobile apps for writers: http://bit.ly/PojZAA @DIYMFA @AndGeeks
Dialogue that speaks to you: http://bit.ly/V7nNgw
The trend of intellectual
romantic heroes: http://bit.ly/PoknPE
@ebarrettwrites
Good Endings Are Hard To Find: http://bit.ly/V7ofvj @mooderino
Finding a Mentor-writer—and
What to Do Once You Have: http://bit.ly/PokUku
@carlosinho
Should author photos match
reader expectations? http://bit.ly/V7pcUk
@AnnieNeugebauer
A Blogger Looks at Book
Reviews: http://bit.ly/Polr5Z
@threeguys1book
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October 4, 2012
First Chapters—What to Include
by Elizabeth S. Craig, @elizabethscraig
My editor emailed me last week to see if she could get the first chapter for the next book in the series to include as a teaser for the book that’s coming out February 5. Her managing editor said he needed it by November 1.
“Sure,” I answered. This, although I hadn’t started the book yet, and was working on a different project. :) I always say yes to whatever editors want, then figure out the details later.
With a teaser, you end up with a chapter floating around with no anchor—no cover copy to give the set-up for the book. The teaser is functioning solely as ad copy for the series. My editor asks for it to be fairly fixed—I can have some differences between the teaser chapter and my final version of chapter one …but that it not be too radically different.
The character names have got to be the same in both the teaser and the actual finished book. This means I need to have more of a handle on these characters than I frequently do when I’m writing a first draft (since I usually make it up as I go along and change character names when I get to know the characters better.)
Setting needs to be fairly concrete, too. Can’t have the teaser set in a lighthouse and have the finished book set in a remote mountain cabin.
And the general plot set-up has got to be consistent. If the teaser opens with a dead body and the suspects exclaiming over the body’s discovery, I don’t need to change the story to have the body discovered in chapter three. Some readers buy several books in a series at once and read them back to back. Those readers would definitely notice any large discrepancies.
My first chapters usually include (whether they're teasers or not):
Action. Something needs to happen in the first chapter. If there’s a lot of talk and no action, readers may not stick with the book. Sometimes I have a dead body in chapter one. Sometimes I have an argument between the future victim and one of the suspects. The first chapter is a great place to include the inciting incident for your story—the point where it’s no longer an ordinary day for your character.
Minimal character introduction. This is something I’ve learned the hard way over the last few years of writing. Readers won’t be happy if they’re overwhelmed by characters and character names in the first 15 pages of the book.
Limited backstory. I just bring in enough backstory to keep the reader from getting confused. The first chapter isn’t the time or place to just flat-out tell the reader all the character motivation. That gets boring when the reader hasn’t even gotten to know the character.
Minimal setting and character description. I tend to skimp on setting and description, anyway….and it’s really, really skimpy in chapter one. That’s just personal preference. I give enough broad brushstrokes to give the reader an idea what or who they’re looking at. I do provide more detail in following chapters, but still try to space it out.
The story's mood, tone, genre. It’s a murder mystery, so I want to make sure it feels like one from the beginning. I set the mood and tone for the story in the first chapter, too.
Dialogue. Because I’m a fan of dialogue, I usually have a lot of it in my books—and I almost always open with dialogue (despite what a lot of the writing “rules” say.)
What do you include in your first chapter? What do you keep out of it? How do you like to open your stories?
Image—Cohdra : Morguefile
Hope you'll run by Oregon Gifts of Comfort and Joy blog for a giveaway of Hart Johnson's Azalea Assault and my Quilt or Innocence. You only have to comment on the post for an opportunity to win the books.
My editor emailed me last week to see if she could get the first chapter for the next book in the series to include as a teaser for the book that’s coming out February 5. Her managing editor said he needed it by November 1.“Sure,” I answered. This, although I hadn’t started the book yet, and was working on a different project. :) I always say yes to whatever editors want, then figure out the details later.
With a teaser, you end up with a chapter floating around with no anchor—no cover copy to give the set-up for the book. The teaser is functioning solely as ad copy for the series. My editor asks for it to be fairly fixed—I can have some differences between the teaser chapter and my final version of chapter one …but that it not be too radically different.
The character names have got to be the same in both the teaser and the actual finished book. This means I need to have more of a handle on these characters than I frequently do when I’m writing a first draft (since I usually make it up as I go along and change character names when I get to know the characters better.)
Setting needs to be fairly concrete, too. Can’t have the teaser set in a lighthouse and have the finished book set in a remote mountain cabin.
And the general plot set-up has got to be consistent. If the teaser opens with a dead body and the suspects exclaiming over the body’s discovery, I don’t need to change the story to have the body discovered in chapter three. Some readers buy several books in a series at once and read them back to back. Those readers would definitely notice any large discrepancies.
My first chapters usually include (whether they're teasers or not):
Action. Something needs to happen in the first chapter. If there’s a lot of talk and no action, readers may not stick with the book. Sometimes I have a dead body in chapter one. Sometimes I have an argument between the future victim and one of the suspects. The first chapter is a great place to include the inciting incident for your story—the point where it’s no longer an ordinary day for your character.
Minimal character introduction. This is something I’ve learned the hard way over the last few years of writing. Readers won’t be happy if they’re overwhelmed by characters and character names in the first 15 pages of the book.
Limited backstory. I just bring in enough backstory to keep the reader from getting confused. The first chapter isn’t the time or place to just flat-out tell the reader all the character motivation. That gets boring when the reader hasn’t even gotten to know the character.
Minimal setting and character description. I tend to skimp on setting and description, anyway….and it’s really, really skimpy in chapter one. That’s just personal preference. I give enough broad brushstrokes to give the reader an idea what or who they’re looking at. I do provide more detail in following chapters, but still try to space it out.
The story's mood, tone, genre. It’s a murder mystery, so I want to make sure it feels like one from the beginning. I set the mood and tone for the story in the first chapter, too.
Dialogue. Because I’m a fan of dialogue, I usually have a lot of it in my books—and I almost always open with dialogue (despite what a lot of the writing “rules” say.)
What do you include in your first chapter? What do you keep out of it? How do you like to open your stories?
Image—Cohdra : Morguefile
Hope you'll run by Oregon Gifts of Comfort and Joy blog for a giveaway of Hart Johnson's Azalea Assault and my Quilt or Innocence. You only have to comment on the post for an opportunity to win the books.
October 2, 2012
The Purpose of Our Books
by Elizabeth S. Craig, @elizabethscraig
I’m always interested in seeing what my children bring home as English homework.
My daughter had an assignment a couple of weeks ago where she had to identify four different types of writing and then provide examples of each.
The four purposes for writing (according to this textbook, anyway) were to entertain, inform, persuade, and to express an opinion.
My daughter said she thought one of the purposes should be to make money. :) For her, my writing is just another job. I told her it was a way to make money, but not many of us would write only to make money.
So she asked me what the purpose of my books was. I think she was expecting a clear cut answer from just one of those four purposes.
I told her my books were mostly written to entertain. In fact, I put a lot of time and effort (and, yes, even market research) into writing to entertain.
But the books are basically wrapped in ad copy. That would be the cover, the blurbs, and the cover copy. I also have a teaser at the beginning of my Penguin books and some of my books have teaser chapters at the end. So, the book is there to persuade, too. It’s there to look tempting on a shelf or a website. And, with my content, I’m hoping to persuade readers to buy more of my books. I’m persuading my readers to like my characters, to like the story, to keep reading the book. Persuasion definitely plays a part.
I know that the times I’ve wanted to inform as a purpose, I’ve nearly gotten myself into trouble. I’d have a big research session and that temptation is always there—to show what you’ve found out and inform the reader. It’s easy to get excited about your research. But…the reader isn’t there to learn more about blunt force trauma. She’s really not. So we have to be careful about how much we inform with fiction—a little goes a long way. But, yes—sometimes I do try to inform with my writing.
Expressing an opinion, though? I’d like to think I haven’t done as much of that. As a reader, reading what is clearly the author’s opinion (a political rant, for instance, or support of a cause) can be very jarring. The opinion becomes author intrusion when it doesn’t seamlessly fit into a scene or when it doesn’t sound natural coming from the character expressing the opinion. Opinions have to be handled with care in fiction, for sure.
What’s the purpose of your books? Do your books have more than one purpose? How do you keep yourself in check from too much informing or from author intrusion?
Image: MorgueFile—Alvimann
I’m always interested in seeing what my children bring home as English homework.My daughter had an assignment a couple of weeks ago where she had to identify four different types of writing and then provide examples of each.
The four purposes for writing (according to this textbook, anyway) were to entertain, inform, persuade, and to express an opinion.
My daughter said she thought one of the purposes should be to make money. :) For her, my writing is just another job. I told her it was a way to make money, but not many of us would write only to make money.
So she asked me what the purpose of my books was. I think she was expecting a clear cut answer from just one of those four purposes.
I told her my books were mostly written to entertain. In fact, I put a lot of time and effort (and, yes, even market research) into writing to entertain.
But the books are basically wrapped in ad copy. That would be the cover, the blurbs, and the cover copy. I also have a teaser at the beginning of my Penguin books and some of my books have teaser chapters at the end. So, the book is there to persuade, too. It’s there to look tempting on a shelf or a website. And, with my content, I’m hoping to persuade readers to buy more of my books. I’m persuading my readers to like my characters, to like the story, to keep reading the book. Persuasion definitely plays a part.
I know that the times I’ve wanted to inform as a purpose, I’ve nearly gotten myself into trouble. I’d have a big research session and that temptation is always there—to show what you’ve found out and inform the reader. It’s easy to get excited about your research. But…the reader isn’t there to learn more about blunt force trauma. She’s really not. So we have to be careful about how much we inform with fiction—a little goes a long way. But, yes—sometimes I do try to inform with my writing.
Expressing an opinion, though? I’d like to think I haven’t done as much of that. As a reader, reading what is clearly the author’s opinion (a political rant, for instance, or support of a cause) can be very jarring. The opinion becomes author intrusion when it doesn’t seamlessly fit into a scene or when it doesn’t sound natural coming from the character expressing the opinion. Opinions have to be handled with care in fiction, for sure.
What’s the purpose of your books? Do your books have more than one purpose? How do you keep yourself in check from too much informing or from author intrusion?
Image: MorgueFile—Alvimann
