Linda Clare's Writer's Tips

POV Breakdown: First Person

2012-02-08T10:27:00.000-08:00

I love to write in first person and I love to read a first person POV novel. So talking about this POV is comfortable for me.
Writing Tip for Today: First person POV uses the "I" voice. Of all the viewpoints (aside from that pesky second person), first person seems to be evenly divided between those who love it and those who hate it. Until a few decades ago, writers were often discouraged from using first person POV, shuttled instead to third person limited. But times have changed and these days first person is more accepted, even in genre novels. But there are advantages and disadvantages:

Role Playing Score! The first person POV provides intimacy and immediacy. Readers feel as if they are living the story, and they tend to identify with the character, paying less attention to the character's looks--they're getting to actually view the world from this character's eyes. Sometimes readers don't even really know the first person POV's name. Nor do they care.
Where's the Camera? In first person POV, the camera is sort of embedded in the protagonist's (POV character) belly, looking out at the world. This means that unless your character looks at herself in a mirror (this is generally instant fiction death--screams amateur!), we may never know the character's looks. This character cannot see herself blush, see her own expression (but she can feel it) or enter the thoughts of anyone one else in the scene. The simplest way to remember is to "be" the character as you write. You need an outside person to tell you that there's broccoli stuck in your teeth and so does your character.
First Person POV Limitations. The main disadvantage to using first person POV is that all the action must take place while your character is present. In order to write a scene in which this character is absent, you must switch to another POV. Multiple POV novels are popular, but I advise first-timers to write a complete story in only one or two at most. Multiple POVs are far more than merely rehashing the events from different characters. It takes skill and practice to master the woven tapestry a multi-POV novel requires. In genre fiction such as murder mystery or romance, first person can be tricky. And in every kind of fiction, switching first person to first person requires the writer to label sections or scenes with character names--after all, they're all "I."
Try It. If you are beginning a novel, you may want to experiment with first and third persons. Try writing a scene from each of those viewpoints and then read aloud to see which one sounds more natural to you.

Introducing Kim Vogel Sawyer

2012-02-07T10:26:00.000-08:00

Song of My Heart by Kim Vogel Sawyer

This week, the
Christian Fiction Blog Alliance
is introducing
Song of My Heart
Bethany House (February 1, 2012)
by
Kim Vogel Sawyer

ABOUT THE AUTHOR:

Kim Vogel Sawyer is the author of fifteen novels, including several CBA and ECPA bestsellers. Her books have won the ACFW Book of the Year Award, the Gayle Wilson Award of Excellence, and the Inspirational Readers Choice Award. Kim is active in her church, where she leads women's fellowship and participates in both voice and bell choirs. In her spare time, she enjoys drama, quilting, and calligraphy. Kim and her husband, Don, reside in central Kansas, and have three daughters and numerous grandchildren.

ABOUT THE BOOK

Sadie Wagner has always been devoted to her family. So when her stepfather is injured and can't work, she decides to leave home and accept a position as a clerk at the mercantile in Goldtree, Kansas. Goldtree also offers the opportunity to use her God-given singing talent--though the promised opera house is far different from what she imagined. With her family needing every cent she can provide, Sadie will do anything to keep her job.

Thad McKane comes to Goldtree at the request of the town council. The town has been plagued by bootlegging operations, and Thad believes he can find the culprit. After he earns enough money doing sheriff work, he wants to use it to pay for his training to become a minister.

Thad is immediately attracted to the beautiful singer who performs in Asa Baxter's unusual opera house, but when he hears her practicing bawdy tunes, he begins to wonder if she's far less innocent than she seems. And when Sadie appears to be part of the very crimes he's come to investigate, is there any hope the love blossoming between them will survive?

If you would like to read the first chapter of Song of My Heart, go HERE.

POV Breakdown: Second Person

2012-02-06T09:39:00.001-08:00

Almost all writing teachers tell their students to stay away from second person. The YOU voice or POV is considered the most difficult to sustain. Why?
Writing Tip for Today: Second person POV uses the pronoun "you." And that's where the problem lies. "You" could be any number of individuals or whomever is reading your story. Although using a second-person POV exclusively is discouraged, there are a few exceptions.

The Brief You. Now and then a writer can get away with a sentence or two in a you voice from an already established character's first person POV. So the reader is cemented in the "I" voice before this character turns to the audience and relates a common condition or info that many people might also experience. One of the most fascinating uses of second person POV is in Lorrie Moore's short story, "How to Become a Writer." Grammar rules say in the case of second person, the subject (you) is omitted and the sentences begins with a verb. In the case of Moore's story, writers relate to her story's first line: "First, try to be something, anything else." The you is implied. You go to your room becomes: Go to your room.
You're Not the Boss of Me. The command to do anything, including "go to your room," doesn't sit well with readers in general. We resent others telling us what to do.
Rare Birds. Of course, some writers can pull off what the rest of us dare not attempt. Jay McInerney's Bright Lights, Big City is a novel written entirely in second person POV. This writer succeeds mainly because of his high skill level. If you want, write in second person as an exercise. Only you and an editor can say if your attempt is publishable.

POV Breakdown: Deep POV

2012-02-03T09:25:00.000-08:00

I admit I didn't know what the term "deep POV" referred to until I read an article by one of my colleagues. I discovered I've been calling it by a different term, "the observing consciousness." Writing Tip for Today: Whatever you choose to call it, here's the lowdown on Deep POV:

Whose Eyes? In any POV, first person (I) or third person (he, she, they), you want the reader to experience the scene as if he/she is looking out through that POV character's eyes. Reader sees what character does, sees, hears, tastes, touches, smell or thinks. The writer gives information about the scene ONLY through that character's point of view. Thus, if two opposite characters engage in an argument, Character A can know her own thoughts and feelings, but can only infer or surmise the other character's thoughts and feelings through interpreting that character's body language, dialogue or actions. When a POV character interprets another's thoughts or feelings, use "seem," "as if he," "might have" or some other qualifier that shows the reader we're still in Character A's head, making assumptions about the other character.
Deep, Deep, Deep. To move past regular point of view (POV) into Deep POV, you omit the kinds of things we don't observe about ourselves when we interact with others. In other words, "I watched the toddler taking her first steps," becomes, "The toddler took her first steps." "She heard the far away rumble of thunder," becomes, "Thunder rumbled in the distance." "He saw her take money out of her purse," becomes, "She took money out of her purse." Instead of "She felt the green grass," try, "The grass was soft under her feet." The thing to remember is that when we move through life, we don't stop to say, "Gee I'm watching this," "feeling that" or "hearing something," you just watch it, feel it or hear it. By eliminating these markers of the character observing herself, the camera moves closer and the reader enjoys a more intimate relationship with the character.
Sensory Weirdness. Perhaps an exception can be made for smell. Sometimes you can write, "The aroma of fresh bread wafted through the room as Joe sat in the cafe." Other times it makes more sense to say, "I smelled smoke." Taste can be tricky too. "The broccoli tasted like old gym socks." is perfectly acceptable.
Send me your questions about POV and I'll try to answer. Next: Second Person POV: When should you dare to use it?

POV Breakdown: Third Person Limited

2012-02-01T09:49:00.000-08:00

I've been asked to write a series of short articles on POV in fiction/memoir. The requirement is for my explanation to turn on the light bulb for the densest writer. OK maybe not THE densest, but a writer whose skills and knowledge are on a steep learning curve. I'm going to try it out on you first.
Writing Tip for Today: We'll begin with the most widely used point of view, Third Person Limited. When you are crafting scenes, it's likely that you either "hear" dialogue, see the action in your mind's eye, or a combination. Understanding POV is like that too. Only in Third Person Limited POV, there are a few rules to follow:

Where's the Camera? Think of the camera as pointed outward but a tad behind your main character for the action. This character doesn't see himself, he sees the world around him. In Third Limited, the reader is also able to point the camera inside so readers see what he sees, hear what he hears and understand any emotions or thoughts this character has. Thus, with the camera just behind him, following him everywhere he goes, we can see his world as well as be an outside observer of his thoughts and emotions. The character wouldn't, however, see himself blush, or his own face unless there's a mirror involved.
Third Person Pronouns. Third Person Limited POV uses pronouns "he," "she," and "they." Use "I" "you" or "we" only in dialogue.
Limited Means One. The "limited" indicates that we aren't going into other characters heads. This is where writers get confused. Your POV character can observe others, hear others, shake hands, smell cologne or even taste the other characters, but he CANNOT know their thoughts/emotions except by inference. Inference might seem like a POV error, but unless the writer plainly writes that another character thought or felt some way, it's still the POV character's judgments about another person. In Jan Karon's At Home in Mitford, Father Tim (POV Third Person Limited) exclaims to his secretary, "Emma!" he said, astounded. "Is that you?" "This," she said with feeling, "is the most me you've seen in years." She turned her head this way and that so he could get the full effect. This last line might appear to be in Emma's head, but in fact Father Tim knows her well and understands her body language. Your character can guess at another character's thoughts/intentions/emotions the same way we do in life: by interpreting dialogue, body language and circumstances.

NEXT: Third Person Deep POV.

Balancing the Conflict

2012-01-30T10:42:00.000-08:00

Novelists often hear that their character's conflict must be balanced. What does this mean?
Writing Tip for Today: Every character has both an outer life and an inner life. The outer conflict you give this person should be important enough to affect far more than only that character. But all action and no emotions makes this character a dull guy or gal. Consider these things when you imbue your character with traits and saddle him with problems:

No Upstaging. If the inner life of the character keeps upstaging the plot, one remedy might be to increase the overall stakes of the novel. This can be done through the use of a time barrier or by increasing the effects of the character's decisions on others. Conversely, if the reader doesn't care or know of the character's inner turmoil, the story will be shallow and two-dimensional.
Plot the Possibilities. When you are still drafting, you might think about the ways your character's conflicts affect the other players and the world at large. Try to think in opposites or in cliches turned on their heads. For example, a dog lover falls in love with someone allergic to dogs. You can change these "opposites" as you gain a clearer picture of the overall story.
Alone=Boring. If you spend too many words on inner thoughts, memories or other soliloquies, your story is liable to feel cramped, confining or like so-much navel-gazing. Realize that readers crave action and they demand real-time action most of the time. If you notice that your character is alone on stage, try to get another player onstage as soon as possible.

Making Sense Of Scattered Bits

2012-01-27T16:04:00.000-08:00

Today I got an email from a student who begged me to help her with what she called a "tangled ball of events and scenes" she needed to put together to form a book-length work. What, she asked, was my advice?
Writing Tip for Today: If you aren't writing your book in chronological order, how do you unite the elements into a cohesive story?

Story Board! My first bit of advice would be to make a story board, either a rough approximate of the entire story, or a more detailed one. As we've discussed here, a story board is an excellent way to gauge whether your manuscript has too many scenes in critical places, leading to redundancy, or too few, resulting in plot holes. You can rearrange events if they make more sense introduced sooner or later. At the very least, try to construct a timeline for your story. Remember, you can change the story board any way you think is necessary in order to achieve a story that escalates tension all the way to the climax.
Stack Your Scenes with Subplots. Put your "exciting" scenes in order from least tense to most tense. Now, imagine two subplots (story lines that enrich the story but don't overpower it) and look for places along the Timeline where you can insert scenes about the subplots. Be careful though. If you go too far afield of the main plot, your reader will wonder what happened and/or become bored.
Resist the Urge to Cherry Pick. Sometimes, a story's connecting scenes that are lulls in the main action can seem less attractive to write than the flat-out action scenes. If you write all the "good stuff" first, you'll be stuck writing those less important connective scenes.

Crankypants Time!

2012-01-26T09:54:00.001-08:00

Today on Miss Crankypants: Daughters who manage your underwear.

Creating Subtext in Fiction and Memoir

2012-01-25T10:25:00.000-08:00

In last night's Memoir Writing class, we held a spirited discussion about getting our memoirs full of subtext that deepens the meaning for the reader and helps them connect with some universal truth. What do I mean?
Writing Tip for Today: On the surface, your memoir or fiction is about something particular, i.e. a scene: going fishing with Grandpa, your heroine and hero arguing on a boat, or perhaps a childhood memory. But on a deeper level, your story represents a basic human need or emotion or some universal truth. Examples include the need to feel loved, safe, need to belong, the need to feel understood. Here are some things to consider when you try to get at that subtext or universal truth in your story:

And Your Point Is? You must have a point, that is something to say. This is one reason why even in memoir, it isn't enough to tell a story that goes nowhere--even if the story is entertaining. Seinfeld may have gotten away with a plotless sitcom story, but chances are, you won't.
Crack it Open. In order to get down deep where our most primal needs lie, we often must take several tries at getting to the real truth about an event. Look between the lines you've written for what is NOT there. Our secrets are in this place, so it's dangerous territory. Be willing to dig deeper in order to tap into the real story. This might hurt a little, even for novel writers.
Offer Hope. No matter how dark or dire the story, most readers crave some sort of hope by the conclusion of the story. This is not the same as "pandering" or being a victim. Over the course of the story, if you write the character as someone who grows and learns, the readers will be more satisfied than if the character gives up or doesn't care.
Go Now and Create Subtext! Talking about subtext is not a call to write in an overwrought self-conscious manner. Don't think about the deeper meanings while you draft. Just write the story. As Gertrude Stein famously said, "I write to learn what I know." You may be surprised by the direction your subconscious takes you as you refine what you have to say.

You Guessed It: It's Crankypants Day!

2012-01-24T10:51:00.001-08:00

It's Tuesday, so if you want to learn how real authors handle real author events, tune into Miss Writerly Crankypants.

Driven to Distraction: Staying on Writing Task

2012-01-23T09:41:00.000-08:00

Many writers complain about having no time to write, what with submitting, marketing, blogging, conferences, tweeting, Facebooking and the like. How can anyone possibly make progress on the work-in if she's required to get her name out there 24/7?
Writing Tip for Today: Miss Crankypants would say we all have the same number of hours in a day, but I'm a bit more sympathetic to the various tugs on a writer's time. Here are some things I do to become a more productive writer:

Schedule Tasks. Take your writing time per week and divide it into 5 segments. At least 3 of those segments should be writing time. Pure, uninterrupted (if possible) and with your editor function turned OFF. Segment 4 might be for editing/critiquing. Segment 5 (I like to use Friday) is reserved for all the marketing stuff, from submitting to tracking submissions. Take a day when you're doodling on Facebook to write some blog posts, saving them to post at times you assign. Link your Facebook and Twitter accounts to your blog so you don't waste time reposting.
Urgency List. I use a list with the most pressing writing tasks at the top. You might set your priorities according to contest or submissions deadlines or even self-imposed deadlines (I will have 10 chapters by this date).
A Little Reading. I read something I really like before I dive into my work-in-progress. Reading awesome stuff inspires me to my best writing. Don't worry if you suddenly begin to write like Ann Lamott or Steinbeck--you are imitating greatness and you can edit it later. Alternately, reread the last few paragraphs from your previous writing session. Try ending your sessions in the middle of a scene so you aren't facing a blank page next time you write.

Today on Miss Crankypants

2012-01-21T14:33:00.000-08:00

As some of you may have noticed, lately my posts haven't exactly been updated every day and have been fewer in number per week. That's because I've got a new blog! It's funny and gripey and really helps me blow off steam about injustices in the writing world. Of which there are many.
I'll be posting here on Linda Clare's Writer's Tips on Monday, Wednesday and Fridays, and on Miss Writerly Crankypants on Tuesday, Thursday and the occasional Saturday. For proof, check out my Crankypants post on using dialect: http://misswriterlycrankypants.blogspot.com/2012/01/leave-him-where-lord-flang-him.html

How to Handle Writing Feedback

2012-01-20T10:04:00.000-08:00

You're committed to learning the writing craft, and you joined a critique group to further your skills. While a large portion of the feedback you receive may be positive and instructional, it's quite normal to feel a sting as your peers shred what you thought was a brilliant piece of writing.
Writing Tip for Today: How can you get past the hurt so the feedback can help?
A little background here: My first group was a bunch of writers who were light years ahead of me. My measly poetry pub credits did little to impress them--especially since I started out by typing single-spaced on onion-skin paper. So I kept trying, harder and harder. One night I walked in with an article I thought I'd nailed. The group had me for dinner. I was nearly in tears. But that night, while licking my wounds, a light bulb appeared over my head. What if presenting a piece to a critique group wasn't meant to be a performance? That revelation changed everything for me. Here are some ways you too can get past the idea that your reading is a performance:

You're Not Letterman. A monologue is different from reading a piece for feedback. Avoid using different voices for characters, physical gestures or other special effects that your reader won't have. If you read in a steady voice, not too fast, critiquers can focus on the words, not your performance.
No Simon Cowell Here, Either. Remember that although your group is a first reader gate, you'd much rather make mistakes here than in the public eye. If your critique group seems overly harsh, suggest a review of "positive critique practices," such as the "sandwich method," wherein each critiquer gives a positive, a work-on-this and another positive.
Remember Your Audience. If your group contains members who'd NEVER read the kind of stuff you write, take their criticisms with a grain of salt--or find a group of writers closer to your genre.
Beware the Mutual Admiration Society. You want to learn your craft, not be heaped with praise week after week. Learn to "take what you can use and lose the rest." Challenge the other members, especially if you're all new writers, to go beyond saying non-helpful stuff like, "It did/didn't flow well." What can you do with that? Better to narrow the area you're referring to and giving specific feedback. "You switched from past to present tense on page three," or "There's a POV shift on p. 4 that confused me," might be more helpful.

Writing Secrets

2012-01-18T09:46:00.000-08:00

The title of today's post could lure you in like the spam I get in my inbox. Stuff that promises to show me the "secrets of selling a jillion copies," "getting an agent," "ridding myself of ugly toenail fungus" or just about anything else. Free webinars, podcasts and booklets clamor for attention, all with promises to reveal secrets. Sorry, but this post is about YOUR secrets.
Writing Tip for Today: In last night's memoir class (which is enormous, changing the class dynamics in a great way!), we talked about what our readers want, as in the reader saying, "WIIFM" or "What's In It For Me?" We arrived at some basic properties great writing should offer.

Great Writing Is Experiential. Usually accomplished through scene writing, a reader experiences the writer's world via a character or two, the senses (good old CSD, concrete sensory detail), conflict and resolution of conflict. If you want others to seek out your stuff to read, write it in an experiential or cinematic way.
Great Writing Costs the Writer in Emotion. Our goal, no matter what type of writing, should be to elicit an emotional reaction--whether it's a light bulb of understanding (oh that's how you make a pbj sandwich!), anger, joy, sorrow or any other emotion you care to name. If the reader can relate or have a deep reaction, you must be willing to write the truth.
The Truth Is Often a Secret. Ouch! Your deepest truths are often hidden under layers of social maneuvering. We keep our secrets carefully cloaked in life--for our survival. Yet in writing, a reader is looking to puncture the protective covering and find out if anyone else on earth is hiding the same secrets. Since most of the time our secrets are related to abandonment, shame, sorrow, guilt or embarrassment, it's usually not hard to find one that readers can connect with. It may take multiple tries, but your writing will improve if you diligently work on writing the truth of your secrets and proving to readers that you're a lot like them.

What's the hardest kind of topic to write about for you?

More Self-Publishing Tips

2012-01-16T10:06:00.000-08:00

Most writers wish their story would become a bestseller. That's just being human. But whether you are still chasing publication or you are just intrigued by all the "instant" successes like Amanda Hocking, self-publishing is a world you probably should investigate.
Writing Tip for Today: Who should go self-published and who should tough out the agent-traditional publishing game?

Fifty to One Hundred Agent Turn-downs. If you'd really rather go traditional, my advice is not to give up (if then) until your project has been passed on by at least 50-100 quality literary agents. Resolve to approach as many of these as possible in person at a writing conference. It costs money, but it's still your best opportunity. A query letter has a much smaller chance of connecting with an agent on the emotional level than does a face-to-face pitch.
Know Thine Audience. If you have a nonfiction project with a very well-defined or niche audience, you may need to get your product to market faster than a traditional publisher might. And never forget that a publisher may approach you if you sell a lot of your books and create a good buzz. One of the most common mistakes authors make in putting out self-pubbed titles is that they aren't really sure who their audience is. If you don't know this crucial bit of info, you may as well drive around the country and sell your book from the back of your station wagon.
Be Marketing-savvy. If you do decide to self-pub, take a refresher course on basic marketing or study how these Amanda Hocking-types do it. You will not be able to put your book on Amazon and hope it sells. Talk to other self-pubbers (preferably writing similar genre books), and grow your network with the usual online presence, plus an active campaign in that 100 mile radius of your location. Most importantly, if you are disappointed with sales using one strategy, be creative. Most of the success stories refused to give up.

Navigating the Self-publishing Maze

2012-01-12T12:28:00.000-08:00

Since it's a new term, I have lots of new students who want to know about self-publishing their book. Only a few years ago I would have made a pickle-face and gently told the student to try everything else first, because, oh you know, there's that stigma surrounding the self-publishing thing. Not anymore.
Writing Tip for Today: Now that folks are raking in millions with self-publishing, it's becoming more legit. Still, there are some things every writer considering a nonroyalty-paying publisher should keep in mind:

Do Your Homework! Research the top vanity-subsidy-self publishers. Do a compare and contrast, listing pros and cons (Hint: a con is anything which costs you money up front). As of this writing, a couple have emerged: CreateSpace, owned and operated by Amazon, and Lulu.com, also known for straightforward self-publishing. Don't sign anything until you're sure of your needs.
Evaluate Your Manuscript. Evaluating is different than editing. Evaluation looks for broad indicators that your work's writing level is skilled and that your story has an identifiable story arc and other story factors. You may want to hire someone to do this evaluation if you aren't sure if your manuscript is ready for the traditional publishers and want to find out. A good friend, Susanne Lakin, also at @LiveWriteThrive, has just launched a manuscript evaluation service, as has Mary De Muth. There are, of course, many other editors who provide this service. Do a Google search, and try to get someone familiar with your genre.
Count the Cost. Once you know your manuscript's potential, you'll also be aware of its problems. If these are few and minor, you might be able to do it yourself. Otherwise, you can either opt to hire your own editor or use one connected with the publisher. Prices vary, but it's probably worth your time to get some sort of editing done.
Get a Plan. As in marketing plan. Once you take the plunge, you will need to decide on a "package" that the publisher offers. Again, these range from almost-hands-off to complete packages, including cover design and a rudimentary marketing plan. You'll shell out from $3-5000 for the more complete packages.
Get Active on the Web. Long before you hold a copy in your hand, you should be growing an Internet presence, through blogs, social media and web sites. Organizations (who might let you speak for free but sell your books after) often book years in advance, so get an angle. If your book is about a nurse, target nursing or wellness organizations. You get the idea.

More Subplots

2012-01-10T10:34:00.000-08:00

Today, my alter ego, Miss Crankypants, is guest poster over on Kay's Words. I hope you will visit Kay and leave a comment for Miss Crankypants! Also, here are a few more thoughts on writing subplots in the novel:
Writing Tip for Today: When you write a subplot, here are some other things to think about:

Beware the Secondary Character Takeover. Colorful, quirky characters can add depth and interest to a novel. But be careful. If the side kicks are more interesting than the protagonist, readers may not sympathize with the main story as much as they could. If your secondary character is just too good, consider switching the novel's POV or dial back the character's role in your present work and make that character the protagonist in another story.
Reserve the Highest Stakes for Main Problem. Likewise, a subplot that seems more urgent than the character's main journey or problem will upstage too. Some writers struggle with how to construct a good story arc, but if you remember that each surfacing of the main problem should be more urgent than the last, it will happen naturally. Let subplots fill in another of the character's needs: If the main conflict is emotional, subplot may be some external matter, and vice versa.
Don't Be Afraid to Experiment. When you're drafting, it's hard to think about anything except getting to "the end." But with subplots, you can try allowing them to surface at different spots in the story, and then see where a subplot would heighten the suspense, provide for comic relief or let us see a different side of the protagonist. I'm giving you permission to try different things with your subplots.

Dealing with Subplots

2012-01-08T11:42:00.000-08:00

In novels, uncovering the layers of problems, conflicts and resolutions is part of the fun. Readers expect more than a simple plot, even in genres.
Writing Tip for Today: Here are some things to consider in working with subplots:

Keep Subplots Manageable. For your viewpoint characters, often an outer and an inner conflict is sufficient. Be cautious about adding so many layers that none of them is treated sufficiently. A standard piece of advice for first-time novelists is two subplots.
Keep Subplots Balanced. Since writing is so solitary, it's normal for the writer to be drawn to the internal conflict of a character. After all, we spend a lot of time sitting around thinking. This approach can be deadly for novels--get your characters moving where possible. By writing active scenes, you'll be helping your story's inner and outer conflicts to feel balanced.
Better Late Than Never. Here's a secret: many, many novelists don't start out a book with all the elements lined up in a neat row. If you get feedback that your conflict needs to be steeper (more at stake), don't be afraid to add a twist or two, even if you're far along in the draft or rewrite. Insert these johnny-come-lately subplots at appropriate places along your novel's story line. This is called "planting." You plant your new subplot at various spots, making sure that 1) each subplot comes up regularly and 2) the subplots don't upstage or takeover the main story problem.

Character Quirks or Mockery?

2012-01-05T10:19:00.000-08:00

As a society, we often stereotype others for entertainment. Larry the Cable Guy, Redneck Jeff Foxworthy and Roseanne are examples of how we Americans love to poke fun. But as writers, when are we writing "quirky" characters and when have we strayed into mockery?
Writing Tip for Today: A novel with colorful or quirky characters can add interest and depth to a story. But just as we can't have stereotyped heroes or heroines, a writer can't afford to portray secondary characters in a way that doesn't afford them respect.

Consider Your Tone. If your main character goes around thinking or saying derogatory things about the "quirky characters," your main character may come off as intolerant, snooty or elitist. There's a reason most comedians are self-deprecating.
Reflect the Love. A main character who thinks others are beneath him/her reduces the reader's sympathies. Readers crave good yet flawed characters they can relate to. Just don't give your character a flaw of thinking others are beneath her/him.
Forge Connections. Writers can write quirky characters outside the mainstream if those characters are portrayed in a three-dimensional, humane way. Remember, as a communicator, you're trying to make connections. Even if you privately mock a certain age group, educational level or other flaws, be sure to pump tolerance and humanity into your POV character's attributes. Don't allow quirk to degenerate into mockery.

The Narrative Trap

2012-01-03T10:28:00.000-08:00

Some of the most brilliant fiction arrives in a mostly narrative form. Literary fiction in particular, often appears to "tell" a story without seeming telly. This approach makes for a pretty, yet deceptive web. And that's where first-time or inexperienced novel writers often pay the price.

Writing Tip for Today: When narrative takes the place of scene writing, in all but the most skillful hands, the result is a detached feeling, where the camera never quite breaches the character's emotions. If you feel drawn to a narrative style in your own fiction, here are some hints for making the reader care in the absence of scenes with action and dialogue:

Yep. Timing is Everything. Read a narrative passage from a novel you admire. Count the number of sentences or paragraphs of narrative before there is some way to anchor the reader in a scene. This might be the character's sensory reaction to something in the setting, a bit of action, a line of dialogue. The point is that most authors give the reader a bit of something concrete every now and then. One really good example is Marilynne Robinson's Gilead.
Get Out of My Head. For many who write a lot of narrative, the culprit is that old enemy, back story. The character is often on stage alone (first clue), looking out a window or in some way remembering another time. If what happened before the story starts is more important or exciting than what is happening in real time on stage, maybe the story isn't starting at the right place. Try to get your characters out of head mode and into action mode.
Draft Crappy, Edit Hard. Go ahead and write whatever you think of to get your draft finished: long soliloquies, kitchen table scenes, narrative that goes on and on. Just be sure to edit later with a cold hard eye, asking yourself if every page moves the story, and if every scene has movement. If you need to, the Rule of Three (pages, paragraphs, sentences) can help you balance scenes with narrative.

Success Defined

2011-12-29T11:58:00.000-08:00

We writers love to use the word "success." But what does that really mean? Sure, we'd all love a bestseller, an award, a movie deal in the works. Maybe even to be able to support ourselves through writing. But there are other ways to measure success.
Writing Tip for Today: As you define your writing goals for the coming year (Mayan doomsday predictions notwithstanding), let's look at what success might mean at different stages of a writer's journey.

Climbing that Mountain. I call it a success whenever a student writer makes a breakthrough. If you're new to writing or still an apprentice (as in you're still waiting for the first big pub credit) and you somehow broke through to take your writing to the "next level," you're a success.
Persevering. You're a success if you've received way too many rejections this past year but didn't give up. If you follow my Rule of Rejection--that of allowing yourself 24 hours in which to moan, whine, complain and feel sorry for yourself, then putting those feelings aside and getting back to work--you are a success. You may feel like the biggest loser when you get yet another "no," but the only losers in this game are the ones who give up. Hang in there, and you're ahead of all those giver-uppers.
Waiting for the Right Market. Everyone has heard the story of how my debut novel was 15 years in the making. While a lot of writers' early work is only useful as a doorstop, some work must wait for the market to be receptive. You're a success if you are able to put aside the story that isn't quite ripe yet or to rewrite it yet another time. While you wait, get to work on something new or different. Patience may become success for writers who can wait.

In case you still aren't convinced, say it with me: I am a success! Make it so.

Writing Through the Holidays

2011-12-27T10:21:00.000-08:00

To writers chasing after publicati0n,the publishing world appears to shut down from Thanksgiving until after New Year's Day. Agents can be hard to reach, editors often take vacation, leaving writers frustrated and defeated.
Writing Tip for Today: Since it's unlikely that you'll be able to get in touch with agents or editors during the holidays, what can you do to feel productive?

Work on Your Platform. Write some blog posts and schedule them to post at different times. You can find this function on Blogger under "options" at the bottom of the post box. Troll other blogs/sites for those seeking guest bloggers and volunteer to write a guest post.
Research a New Batch of Queries. Look up a list of 50 agents, editors or publishers who are looking for your type of work. Use online agent/publisher sites and catalogues, peruse published books for authors acknowledging their agents or use the reference market books at the library. Make up an "A" list of more well-known agents, and a "B" list of newer or hungrier agents. BEWARE of scams, though. Vet a potential agent through preditors and editors or AbsoluteWrite.
Write, Write Write. During these dark days, when it's ugly outside and agents aren't as available, you can bang out word count on your work-in-progress. Or revise a project that's been sitting in the drawer. Or start something new. Don't let the publisher's lull keep you from your goals.

Folding Great Ideas into Your Novel

2011-12-22T13:04:00.000-08:00

Those who've never attempted a novel read a favorite and marvel at the story as it unfolds. What most don't understand is that the story wasn't (usually) created in chronological order.
Writing Tip for Today: I get "better" ideas as I write my stories. People ask me when is the right time to add in these afterthoughts--as you're "junking it through" or after your draft is complete and in revisions? Here's what I do:

To Go Back or Not to Go Back? About 1/3 to 1/2 through the draft, I almost always get a great idea for deepening my story. If the change is super huge, I'll sometimes go back and "plant" this addition to arise gradually through the story. If it's more of an embellishment than a major plot point, I'll probably wait until the draft is finished, then add in these smaller changes as I revise.
Track Your Scenes. At the halfway mark of your draft, start writing down a one sentence description of each scene. Use a simple list, sticky notes, a white board or index cards--but do keep track. Record page numbers, even if they change. You'll be surprised at how much you can forget about your own story.
Write Plot Points Separately. I usually find that I'm more successful with adding in major plot developments if I write the plot point separated from the manuscript as a whole. When I'm satisfied with the outcome, I can try out several spots for plaxcement in the actual text.

Just When I Was Getting the Hang of It

2011-12-21T11:42:00.000-08:00

. . . Facebook goes and changes everything. I've heard that a new "Timeline" will be rolled out soon, meaning that once again, just as I start to get comfortable with a computer app, it changes. I don't know much about Timeline yet, other than it puts a bunch of your stats and a humongous photo on your wall. But isn't it this way with the Internet in general?

Writing Tip for Today: The class I teach in the Spring term about building platform has to be fluid and change with the times. That's because what's standard today is passe tomorrow. So many writers are flocking to social networking and writing blogs. Others say blogs, tweeting and so forth is so yesterday. Will these new bloggers and posters and tweeters be disappointed in their results? Here's why you should do this stuff even if the world is running toward the next big thing:

They Must Know About Your Book to Buy It. Writers use social media and blogs as a way to reach readers they might never otherwise reach. It's all about the numbers. Facebook, Twitter, Tumblr, blogs and so on are not constrained by physical boundaries. As long as you work on gaining followers, you're reaching more potential readers. They can't buy a book they don't know about.
It's (Still) Free. Aside from your time (which I know is valuable), this stuff is still largely free. Sure you can pay for ads or other strategies, but social media is a great bargain for your marketing dollar.
Know Thy Niche. Utilizing social media forces a writer to define their brand, their product and most importantly, their readers. The better you pinpoint this audience the better decisions you can make in promoting your work. This is one of the hardest things for some writers. It requires you to know yourself, what you love, what you write and what your readers love. It's a worthy pursuit.

A Writer's Evolution

2011-12-19T13:38:00.000-08:00

You say you want an evolution? As a writer? Well, look in the mirror (just don't write a character looking in the mirror). Every day that you show up, hack out that word count, refine your words or your thoughts, you are evolving as a writer. If mastering writing takes at least ten thousand hours, then all but the most stubborn of writers make progress.

Writing Tip for Today: If you doubt you're a different writer now than you were a year ago, a month ago, or even a week ago, consider these things:

The Cringe Factor. Most evolving writers read their older material now and then. If you're really making progress that old stuff makes you cringe a little.
What Was So Special? You look back and can't figure out what you thought was so blinking hot about a particular piece that seventeen editors rejected.
Eureka! When you finally really "get" a writing technique or concept, you wonder what took you so long. Then you get your BIC and write at Absolute Top Speed!

Wherever you are on the writing road, be encouraged! You may not have mastered all the skills you wish to, but if you are showing up, getting in word count and committed to becoming the best possible writer that you can, you will make progress. You'll keep evolving. If you don't believe it, read some of your oldest saved work. And have a good laugh as you realize how far you've come.

Scene Writing for Total Experience

2011-12-16T15:09:00.000-08:00

The manuscripts of new writers often have an identifying feature: that of scenic elements not working together. What do I mean?
Writing Tip for Today: When you imagine your book's scenes, all the elements necessary are integrated. Yet when it comes to writing the scene, these same elements often form little cliques, where each ingredient stands off by itself. Here are a few tips to help your scenes provide the reader with a total experience:

Setting Counts. Remember that the setting recedes very quickly in a reader's mind. If you begin the scene with a description of the place, but then don't remind the reader periodically, that setting will not stand out in the reader's mind. Any time the reader isn't sure where the scene takes place, you are in danger of losing that reader.

Use Dialogue Well. Beware the Talking Heads, Speech givers and Encyclopedic Dialogue. For that total experience, readers want reminders about setting, including the quality of light; they want interior thoughts and emotions, and they want action.

Weave Your Scenes. In addition to the characters and their conflict, learn to weave in the setting, the lighting, the atmosphere, the body language and interior emotions. If you keep all the elements separated, it results in chunks that don't work together. By reminding the reader of scenic elements around and through the scene, you'll be forced to cut down on long descriptions or dialogue that's convenient for the author. Weaving scenic elements into a total experience (like a movie) takes practice but is well worth the effort.

Your Novel's Set-up

2011-12-13T10:32:00.000-08:00

Picture this: A Oregon widower puts aside his own needs for his young daughter who is desperate for a lifesaving liver transplant. A British woman surgeon who specializes in transplants must fight the Oregon hospital's Chief of Surgery to perform the daughter's surgery. Put them together and voila! You've got a set-up for a novel.

Writing Tip for Today: One of the problems every novelist faces is in knowing how much set-up is needed to hook the reader. Although the above story line isn't profound, I'm using it to illustrate how little a reader must know in order to buy into the story. The key is to answer where we are, when we are, who's the character and what's the problem. Not much more. The why can come out over time. How do you know if you have written too much set-up?

Need to Know? Always ask yourself if the reader needs to know what you've described. If it could wait (as in back story), I'd consider not using the info until it's crucial to the story.
Too Much Story? If you evaluate and still believe you need a long intro or a complex one, your story might be too complicated. If you can't tell what it's about in a sentence, you might be tackling too much.
Simplify the Character Goals. If you're writing historical, be careful not to focus too much on the larger history, especially if it veers away from the protagonist. Great novels often have many plot levels, but they aren't a first attempt, usually. Novels for younger audiences will also often be helped by simplifying the scope of the book.

Why Freeze Your Buns Off on a Saturday?

2011-12-11T14:34:00.000-08:00

Yesterday, I was among many other local authors at Lane County fairgrounds for the annual Author's Faire. Part Local Author Spotlight, part Lane Library League fundraiser, I was privileged to sit with other authors and freeze my patootie off for seven straight hours. All for the sale of eleven books--less the 25% for the fundraiser. I think that works out to around $1.50 per hour.

Writing Tip for Today: If you volunteer for a good cause, wear your long johns. Seriously, why do I do these things? Certainly, I don't participate for the money. And the prestige isn't even that good--among our colorful local authors is a guy named Frog who sells joke books. But here's the tip: every writer should be willing to make sacrifices in order to build his/her platform. Here's what was in it for me, besides the promise to bring hand warmers next year:

It's Who You Know. During the event, I got the names of at least 3 speaking/writing/book event contact persons for future events. I now have names to solicit speaking engagements or other book-related events.
Give Potential Readers Something to Walk Away With. Not everyone who stopped actually purchased a book. I handed out bookmarks and business cards to those expressing an interest in writing. Since I teach writing, this was a good thing.
Expand Your Network. I sat next to authors I only knew by name and by the end of the day, had begun friendships or at least pleasant acquaintances. It's a good idea to be friendly with other authors, and not judgmental or snobby. You never know when another writer will be able to help you.

Using Action in Scenes

2011-12-08T10:20:00.000-08:00

A common problem for first-time novelists is the tendency to create scenes where the characters talk about what they've done or are going to do. In real life we talk about our deeds--past, present or future--all the time. We gather around tables and yak ourselves blue in the face.
Writing Tip for Today: Why doesn't talking about action work so well in fiction?

Reader Want to Experience Action. One very good writer wrote scenes about war, where the players were basically in the war room, pushing around those tiny ships and tanks. The problem? All talk and no work makes a dull story. We've all known someone who brags about stuff but never does anything. I think it's this way in fiction too.
Beware the Table! As I've said before, too many scenes around a dinner table, bar, cafe in Paris or any sort of eating and drinking venue to reveal story is dangerous. The problem? Action becomes stagnant, minus the occasional sip or chew. And we all know you're not supposed to talk with your mouth full.
What We Do Matters. In life and in fiction, it's what we do that matters more than what we say. Learn to get your characters away from the table. If you find your character recounting past action a lot, resulting in the back story blues, maybe you're not telling the right story or it doesn't start in the right place. Take any scene you've written where the characters do little more than talk and reset it where the characters do something anything: garden, jog, work on a car, cook. If you set the scene in the kitchen, beware the sharp knives.

More on Deep POV

2011-12-06T10:26:00.000-08:00

The subject of Deep POV deserves a bit more. By using it, you're not just deleting all those self-conscious references, "he thought, realized, felt, saw, etc." You're bringing the camera closer for the reader.
Writing Tip for Today: Take a look at you WIP (work in progress). Are there spots where your camera zooms out? Sometimes writers use a wide lens to establish the setting and then go to the character and thoughts, feelings, problems and motives. But beware: Few writers are skillful enough to sustain interest with a wide-out omniscient POV at the opening. The writing may be gorgeous, but in our culture, we're programmed to look for the human interest. Consider these things:
In news articles, journalists used to write "from the general to the specific," effectively opening with that wide lens, then narrowing to a person. These days, pick up any newspaper, and you're more likely to see an article lead that goes from a person and then to a more general view.

A writer has only a few seconds to hook the reader. If you write a lovely long omniscient description of a place, the reader may be too impatient to stick around until there's someone on stage.

Many times, readers want to BE the character. By utilizing the character's deepest emotions in that character's POV, a writer is more likely to engage the reader.

More on Tone

2011-12-05T09:52:00.000-08:00

A reader has asked to hear more about tone in the novel. What exactly does tone mean and how does it differ from voice?

Writing Tip for Today: Tone is the overall emotion the novel evokes: serious, dramatic, existential, magical, romantic, funny. Voice is that unique quality or turn of phrase that identifies the character or author without necessarily naming either.

Keep It Even. The biggest thing to remember is that unless you have a lot of skill (I'm always putting in this disclaimer--inevitably a student will name an exception), try not to mix the overall tone. In other words, don't present gut wrenching sadness, then suddenly switch to a light or humorous tone. It's tasteless to poke fun when the reader is still weeping.
Sift for Tone. Most writers change over the course of writing a novel. You grow and mature and you're not the same person you were when you began. That's one reason why it makes sense to read your entire manuscript, sifting for tone. Are their spots that reflected your mood du jour? Is that mood different in feel from the rest of the novel?
Find Your Voice. Think of voice as a work in progress. Most authors develop their unique cadence, turn of phrase or other identifying tags over a long period of practice, missteps and the occasional brilliant passage. You wouldn't (probably) mistake Joan Didion for Anne Lamott or confuse David Sedaris for John Irving.
Become the Brand. When an author's voice becomes truly his own, it's common for the author herself to become the brand. At first most identify themselves through their genre: say, historical fiction. At some point, being pigeonholed into that genre becomes typecasting, and authors use creative ways to get around their assigned types of books. That's why readers will buy any book, however brilliant or terrible, by that author. His or her name has become the brand.

Clare-ifying Deep POV

2011-12-04T13:13:00.000-08:00

A reader mentions "Deep POV." I thought I must be the last person alive to not be able to define this term, until I read up and discovered I've been using it and teaching it for years. I use a different term and explain it a different way, but my hat's off to whomever made up the term.

Writing Tip for Today: The last thing any writer needs is one more method or term to remember. So I'll defer to Deep POV (or PP which also happens to be my favorite soda, diet, thank you very much) and link my terms to it.

Two POVs Better than One? Deep POV refers to going beyond third person limited viewpoint, but only in a way that won't shock you. DP used to be used mainly by romance writers whose audience wanted to experience the story from both male and female viewpoints. Same old rules apply: Only switch POVs at scene breaks (unless you are super skillful) and don't try to tell the story from every character's point of view. Whatever you choose, remember that this is perhaps a relationship's story, not just one individual.
Watch that Observing Consciousness. OC works with a single or multiple viewpoints. For years I've steered students away from markers such as he thought, she realized, he saw, she heard. Reader is already in a POV, the theory goes, so why reiterate that the character is thinking, feeling, seeing etc. You don't usually remind yourself of these facts and the whole idea is the reader becomes the character.
To Italicize or Not to Italicize. You can avoid most italicized thoughts by simply stating them in the same tense as the story. In my little opinion, italics are hard to read and tend to grate on the reader after awhile. If the dialogue is sort of spoken internally (what we think of as talking to oneself), and it's in present tense and first person, then italicize.
Deepen Your Story. The reason DP works so well is that allows the reader to experience emotion. Emotion is the key, for it allows readers to laugh and cry with the hero and boo and hiss at the villian. Using a Deep POV should help you keep the camera close and the emotions flowing. I have now Clare-ified this issue, right? If not, drop me a question and I'll try to answer.

Your Novel's Tone

2011-12-01T09:38:00.000-08:00

A student's contemporary romance had a well-educated (as in PhD) female protagonist who meets a country bumpkin kind of guy as the love interest. Nothing wrong there, I suppose, but I noted the writer's tone and voice seemed kind of slippery. One moment the tone was serious and the next the writer threw in groaners of puns, jokes, etc.

Writing Tip for Today: When any writer wobbles in tone, the result is that the reader is unsure of how to react to the characters and their situations. If you want a character to be taken seriously, and if you want the reader to stay on, consider these things:

Decide on the novel's tone and stick to it. No matter how clever you are with the jokes, if they deviate from the overall tone they may not be taken in the spirit you intend. While the most depressing theme usually needs some sort of comic relief, be sure it's what that character would really say or do.
Just because you think of jokes doesn't mean you have to use them. Your critique group may get a kick out of a punny one-liner, but remember to sift for tone via your character's motivation and circumstances. Especially if you're writing scenes that are hardly ever funny, such as the death of a child, war gore or other violence.
Beware of cuteness. There's a fine line between "Aw, ain't that cute?" and a maudlin or smarmy piece of prose. And it's doubly hard to maintain a "cute" tone for a novel-length work. Shoot for meaningful rather than simply sentimental.

The All-Important First Page

2011-11-29T10:13:00.000-08:00

As a judge for a writing contest, I'm seeing why so many writing teachers and critics stress the importance of the first page. No matter how lovely the writing, if we don't at least have a sense of what's at stake, it's difficult to muster a strong need to follow the character and his story.

Writing Tip for Today: Open any one of your favorite novels. See if you agree: the first page(s) must hint at the larger theme of the story. Of course, when you read the entire book, you may conclude the struggle wasn't really what you thought. But at the beginning, a direction/something to root for or care about is imperative. Here are some things to consider:

Keep in Mind the Big Picture. The opening should somehow echo the book's larger theme and hint of its story arc. From a writing standpoint, you may be writing this opening last--since novel writing is often about discovery. Be willing to revise those opening paragraphs to reflect your main struggle or stakes.
No Solos. Unless you are very skilled, refrain from keeping your main POV character on stage alone for an extended period at the beginning. Resist the urge to explain where your character is/was before the story starts. In this story, you will release "back story" a bit at a time, on a need-to-know basis. You will not write more than one to three sentences of back story until the reader is firmly connected to the story.
Readers Crave Action. Description is nice, and I'm seeing well-written descriptions and inner thoughts. But be careful: The prettiest turn of phrase means little if the characters aren't interacting, with conflict that relates directly to the larger story goal. If you write mainly in scenes (with dialogue, action and reaction), you'll keep your readers' interest far more easily. A novel is not a monologue that tells the reader. A novel is a mental movie that shows the reader. Make sure your first page crackles with showing a story in its larger theme, populated by characters interacting.

How Do You Do That?

2011-11-28T09:56:00.000-08:00

Recently, after I revised a manuscript for a writing student, she asked me, "How do you do that?" By "that," she was referring to the apparent ease with which I cut, moved and added prose to her existing scene. I don't have any special abilities, I told her. Just a lot of practice.

Writing Tip for Today: The key to this whole question of "How I do that" is to realize that even my own writing doesn't start out polished. I'm a big fan of writing crap--to discover what I think, what I know, what I need to be illustrating. To all writers who are trying to learn the secret of "how to do that," I offer these tips:

Writing Crap Isn't Easy. It's simple, but not easy to write what your mind insists must be garbage. Yet garbage gives you a place to start, a lump of clay that can be shaped. You can't edit a blank page. A draft is a wonderful thing. It is the prototype of something bigger, grander, more profound. If you truly turn off the editor, you can tap into your subconscious mind, where all the good stuff hides.
Keep Your Distance. The words you write on any given day are not indispensable. Don't guard them like Gollum or spend time defending them. Ask yourself what you wanted to show, and leave a day or so between creation and revisiting of your draft. You may decide to build on what you wrote, or you may decide to scrap it and start over. It's OK. Words are like Doritos: you can always make more.
To Get Better, Read and Write, A Lot. Any writer will evolve as long as he/she writes a lot of words and reads widely and well. This is the discipline we writers gripe about. You have to show up. Read the best stuff you can get your hands on, and read also in the area where you hope to publish. I don't think reading will make you "copy" another writer, as long as you don't do both at once. Every word you write brings you closer to YOUR voice, your style, your polished prose. Now, go write crap.

Babies and Novels

2011-11-25T13:58:00.000-08:00

As everyone may have now heard, my first grandchild, Bodhi, arrived today. I'm the proud grammie of a whopping nine pound, twenty-one inch boy. His papa, my oldest son Nathan, gets to tell the story again and again until the world knows. After a somewhat difficult labor, Roxy, Bodhi's mama, is resting. Naturally, I'm thinking about how much having a baby is like writing a novel.

Writing Tip for Today: I've found quite a few parallels between giving birth and finishing a novel.

Both are conceived as ideas we don't really know as well as we certainly will later on.
Both take some time to mature, sometimes much longer than originally anticipated. Bodhi was nearly a week late. My first novel was 15 years in the writing.
Both bring us joy, tears and more than a little pride.
Both quickly develop minds of their own.
Both novels and babies frequently call out to us or keep us up at night.

If we're lucky:

The baby and the novel will each resemble us, but not so much that's it's hard to tell which is which.
Once the baby is born and the novel has been drafted, the real work of revision or training begins.
Nobody will tell us that our baby or our novel is ugly.

RUE and Memoir Writing

2011-11-22T10:55:00.000-08:00

Yesterday I read a draft of a very good writer's memoir. This writer has taught me, inspired me and is a dear friend. The introduction to the work, however, felt very explanatory. Another draft is in order.

Writing Tip for Today: One of the biggest temptations all writers face is to explain what they are trying to say.

Hook 'Em Immediately. Like a fiction prologue, if your memoir or nonfiction opening is stuffed with explanations and back story, readers may not wait for the good parts.
Be Brief. You may have to provide disclaimers or other explanations, but keep them short. The acronym RUE (Resist the Urge to Explain) may help.
Reevaluate. Read over your draft and ask yourself exactly what information your reader must know going into the story or the point you're trying to make.
Where's the Camera? In many cases, the camera is still too far back from the reader. This doesn't always mean we need to see more gore, abuse or awful stuff. For me, it usually means I'm guarding my heart in some way. For memoir, the purpose is to relate your experience to the larger human condition. You can't hide behind your words if you want to tell the truth.

Submission Etiquette

2011-11-20T17:22:00.000-08:00

Over at Miss Crankypants, I'm making fun of the waiting all writers do. We wait for our queries to be answered and often they're answered with a big fat rejection. Once in a while, it's a yes. Regardless of how well or poorly we wait, there is a little etiquette we should all remember.

Writing Tip for Today: Submission procedures are fast becoming all electronic. A few agents out there don't accept e-queries or electronically submitted manuscripts, but they are few. Here are some things to remember when you begin the submission process:

Do Your Homework. Even if you do a mass query, read up on the places you are sending to. It really does matter if the recipient is interested in what you have to offer. A shotgun approach, without any personal warmth or targeted area will be rejected swiftly.
Send ONLY What They Ask. If a editor/agent asks for a query letter only, don't send your manuscript. Don't even send the first chapter, although sometimes you might get away with the first page. Respect the recipient by adhering to their submission guidelines. Go to the website or look them up in a marketing book and note what they ask to receive. Then send only that.
Sell Yourself. I could write volumes on query letters, but let's assume you've already revised 92 times or been through the Query Shark's shredder. The main thing to remember is to write it simply, clearly and with as much enthusiasm as you can without sounding like the King of France.
Resist the Urge to Check. After you hit "send," resist the urge to check, obsess or otherwise worry about that query's status. Agent/Editors receive hundreds of letters per day. It may take some time to get to yours. Even though everything is very quick over Internet, response time may still be in the 8 weeks' realm. Wait at least this long before contacting.
Ask About Status. If you follow up, and it's been more than 2 months, inquire about the status of your project. Never ask if the ed/agt liked what you sent. And if/when the rejection comes, resist the urge to read meaning into what is likely a template letter. Most rejection slips are worded so as to be gracious, but this doesn't mean the ed/agt will buy your work if only you keep bugging him/her. Move on. Keep a submissions log so you don't query the same person twice.
Start the Next Project. Get back to work. Let the "no" go. Keep writing, practicing. You're more likely to get there if you persist. And when you're in the waiting room again, observe submissions etiquette. The editors/agents will thank you.

Coming Soon: Miss Writerly Crankypants, the Blog

2011-11-19T07:15:00.000-08:00

Writing Tip for Today: It was only a joke, but the more I think about it, the more I think the blogosphere needs a Miss Crankypants. Some days I just don't feel as grateful as I should, like when the 150th agent rejects my work, or when the stupid Word 07/10 program gets the best of me. There must be other writers out there who are frustrated too--not blow-up-the-world mad, but irritated, aggravated or nettled in a thousand small ways.
Writers, book lovers, authors, editors, reviewers and yes even agents should have a good place to whine. So I really am going to start my 2nd blog, a kind of evil twin who needs to complain to someone who understands. The rules will be simple: We will assume that under all the carping are very thankful and humble writers who know life is not fair and are willing to say what everyone thinks.
You can suggest topics that have been overlooked or just be content to ride the coattails of my occasional discontent with my writing life. My first topic ought to involve the 134th follower who dropped this blog and now I'm left to wonder why I am only worthy of 133 followers. Hop on over to satisfy your morbid curiosity and get a load of Miss Writerly Crankypants: I gripe so you don't have to.

Getting Unstuck

2011-11-17T10:02:00.000-08:00

I don't usually suffer writer's block, but there are times when I feel stuck on a plot point. Most often, this happens when I am trying to think of an original and fresh way of solving a plot problem. Frustration is the operative emotion, but I've learned a few ways to get through.
Writing Tip for Today: What are some ways to get unstuck?

Stop Trying. So many things in life work better when I don't try so hard. The basic advice to "write crap" applies. A self-conscious writer is apt to write overwrought prose. A writer who can allow the creative solution to burble out of a deep place probably isn't trying to manage himself. By easing off the pressure to solve the problem, you allow your creativity (often residing in the subconscious) to emerge.
Play the What If? Game. You can do this alone or with trusted writers/crit partners. Extrapolate the results if your character does something, from worst case scenario to the most unlikely possibility. Remember, all action your character takes has an effect on the story.
Write a Letter. If you write as though your character was speaking to you in a letter, you're once again letting your subconscious help define the goals and problems of that character. Allow the character to pour out her heart to you as you write, probing for deep emotions. Alternately, you can write scenes that aren't a part of the story, just to understand your character in more depth.
Question: What do YOU do if you get stuck?

Match Your World to the Words You Write

2011-11-16T10:21:00.000-08:00

In every novel writing class, I'm always struck by how animated and enthusiastic writers are for their stories. How wonderful, I often think, to be the creator of a world, to be so embedded in that world that it's all one can do to contain oneself. Yet problems arise when the writer must translate that mental world to a written story that readers will understand.
Writing Tip for Today: The hardest part of writing, in my little opinion, is to match the world you've created to the one readers see in the final manuscript. Here's how to close the gap between imaginings and written stories:

Scene It. Scenes, with all their concrete sensory detail, action and dialogue, tell the story best. But don't waste your time writing just any old scene. Choose to act out or dramatize those scenes which force your characters to make decisions and act, as related to the central story. If you shy away from scene writing, instead writing a lot of interior monologues, your reader will thank you if you get out of the character's head now and then.
What IS the story? A story that can't exactly say what it's about for the character will be prone to wander through life. In real life we do a lot of wandering. But in a story, readers sign on to find out what happens about X with your character. To wander is to bore. Decide on a goal for your character: to get the guy, get the killer, or get out of Dodge and start over, but give her/him a goal.
Revise for Story. I think rewriting for story needs to happen first, before style or copy editing. Editors call this a "substantive edit." As we discussed with story boarding, the cleanest prose with a poor or illogical story line will flounder. Get your story into shape by studying books (I recommend Story by Robert McKee), reading and brainstorming with others. If you sift the story before you do any other editing, you may be able to get that fabulous world you created out of your head and onto the page.

You Can Fix an Ailing Storyboard

2011-11-15T10:34:00.000-08:00

As promised, today's post will show you how to remedy a storyboard (and by extension, plot) with problems.
Writing Tip for Today: So you've laid out your novel's scenes and taken a more holistic and objective look at your story. The nice thing about storyboarding is that you can add, rearrange or cut scenes without messing around in your actual manuscript. What can you do to identify and fix plot holes, redundancies or scenes which masquerade as story advancers, but really aren't?

Plot Holes. A plot hole is not the same as a block of time which is excluded in the story. Plot holes are more like lapses in logic, in which the reader can't figure out how the character gets from "A" to "B." Time periods that make no difference to the story, including what characters do while waiting for the next important scene can safely be cut and replaced with a simple transitional sentence. When I discover a true hole, I will often write the gap-filling scene(s) in a separate document, then try it out in a couple of spots. Sometimes it's necessary to brainstorm with writing partners or groups. The most important aspect of plot hole filling is that it makes sense for that character in that situation.
Redundancies. When you discover that you've written more than one scene which basically covers the same ground, look for ways to either combine those scenes or pick the strongest and most emotionally moving scene to illustrate. Beware though. If you simply insert a scene that's only goal is shock value, it's not always moving a story forward. You can keep your deleted darlings in a special folder, so you don't have to throw away the effort.
Masquerades. Sometimes we're so close to the story that we think the scene moves the story along when in fact it doesn't. Often, it takes a writing partner or group of readers to point out the elephant in the room. If this happens to you and your story, sit on the evidence for a bit, then ask yourself how the scene advances the story. If the best you can do is say the scene "adds color" or "provides background info on characters," you may want to reconsider axing that scene. Trust me, if it really needed to go, soon that scene will be a distant memory. And the scenes left are stronger and more vital to the story.

Make 'Em Laugh, Make 'Em Cry

2011-11-14T10:42:00.000-08:00

I once read a literary agent's comment, "The writing should make me laugh and make me cry on the first page."
Writing Tip for Today: Why should a writer care about that statement, and how can it be implemented?

Smart Writers Go for the Low Brain. A writer who keeps readers fixed on logic, abstract concepts or even long-winded descriptions about inanimate objects may find the reader doesn't care about the work. In any kind of writing, the writer's goal must be to connect humanity to the writing. Most of the time, our "humanness" resides in the lower ancient seat of emotions, not in the cerebral higher functions.
But Aren't Emotions Capricious? Yes, and that's why writers strive to capture one of those fleeting emotions early on in a story. Writers who wait to garner sympathy (by appealing to our sad/happy emotions) do so at their peril. That's why those opening lines and pages are so important--the reader makes a decision, based on emotion not logic, to care about what happens to the character.
Why Laugh AND Cry? If you overwhelm the reader with horrible stuff (cry) but never offer some sort of relief (laugh), you may lose the reader. We want to identify with the character, not simply become a voyeur of a bad situation. In real life, there are ways to make even the most gruesome event sound comical. In fiction, a small dose of either comic relief or gravitas enriches the work, makes it more human.

Finding Your Book's Killer Title

2011-11-12T13:59:00.000-08:00

Book titles are difficult for some writers. Yet in order to attract the attention your work deserves, a great title is a must.
Writing Tip for Today: What are some things to think about in deciding on your book's title?

Titles Can't Be Copyrighted. If another prominent book already has your title, it's not illegal to use it, but think hard about duplicating it, unless the other book(s) is very old, in a completely different genre (be careful here, too!) or some equally valid reason. Do an Amazon or Google search to determine if your title idea has already been used, and if so, when and where.
Speak to the Theme. My great friend and an amazing editor, C.S. Lakin, recently read one of my unpublished novels. She didn't like the working title, so she suggested key words, theme, motif or metaphor words to help me think up the perfect title. As you go through your manuscript, look for major themes, motifs or metaphors that can help you find a title that sings.
Read Poetry. Another writing mentor taught me to consult great poetry for phrases that fit the theme of my book. Emily Dickinson, T.S. Eliot, and William Blake are just a few of the poets whose work often yields titling ideas.
Won't the Publisher Title My Book? For nonfiction, sometimes the answer is yes. And novels are sometimes retitled by committee. But overall, especially if it's your first novel or you're trying to gain an agent/editor's attention, a fantastic killer title is a great way to set your work apart, right from page one. Go ahead and finish your book using whatever working title you think is good. But be prepared, as you begin shopping the work, to come up with something catchy and strong.
Keep Lists. The working title for The Fence My Father Built was Thick Water, as in blood is thicker than water. Although it didn't work for my book, adages turned on their heads or twists on known-titles can bring fresh attention to your book. Meanwhile, keep lists of possible titles, and when the right one hits you, go for it.

Five Easy Plot Points

2011-11-10T10:39:00.000-08:00

Let’s talk about storyboarding. Another technique borrowed from the film industry, mapping out your story in a linear way can help identify plot redundancies, holes or scenes which are either in the wrong spot or need to be axed because they don’t move the story.

Writing Tip for Today: A good storyboard contains only the main plot points of the novel. These plot points can follow the shape of a classic story arc, with Inciting Incident, Complications, More Complications, Climax and Resolution being the primary destinations. Search your work-in-progress (WIP) and try to identify the scene where each of these plot points (also known as turning points) occurs.

· Inciting Incident. Most novels begin just before this event. This is known as Ordinary Time. When plotting out the Inciting Incident, “A” on the story Arc, watch for too much ordinary time, too much back story, or not enough action to propel us on the journey. Remember the ideas of beginning in “media res,” and that of the red wine about to hit the lady’s white satin gown.

· Complication. On the classic story arc, this is “B” or when “things get worse.” Often this is the first clash between the narrator or hero and the obstacle or antagonist. The character’s inner conflict becomes more evident, and subplots may be introduced. Watch for too many subplots, your hero winning too easily or too much and too much introspection—slows down the main action. A bit of back story might occur, but be careful not to leave your reader in the past too much.

· Complication 2. You’ll probably have several complications, two steps forward for one step back, scenes where the character thinks she’s conquered but then the obstacle pops up again. Identify this place in your story by choosing the occurrence with the highest stakes for the protagonist. Where does she have the most to lose, aside from the climax?

· Climax. This is always the ultimate do or die scene. If you think you need more than one climax, examine each for: inner/outer conflicts, how much “help” the protagonist receives, and of course whether he wins or loses. One potential problem is when the author uses the climax for the novel’s opening. You should save the most dramatic moments for the climax—and if you show us some of this scene in the opening (what is known as a bookend construction) don’t give everything away. Save the highest tension, drama and stakes for last. When storyboarding, this scene should come very near the end.

· Resolution. Here’s where you must “round up all the horses,” or tie up loose ends of the subplots and point your character in some direction. We must know if your protagonist is happy, sad or what. Or what is usually not advised.

NEXT: How to fix an ailing storyboard.

Three Amazing Things

2011-11-09T10:06:00.000-08:00

Once in a while I lose my creative spark. For a short time, I feel like stale graham crackers: tasteless and limp. Do you ever feel this way?
Writing Tip for Today: Some refer to this as writer's block, but I don't usually feel blocked. For me, it's more like I'm past the "purchase by this date" sticker. To regain the crisp flavorful spark of creativity, here's what I do:

Read a GOOD Book. Some writers ask if I find myself "copying" the author of this good book. Nope. Once I'm back in the computer chair, I feel energized and fresh, but the author's words don't reappear unless I'm intentionally lifting phrases. Which I don't do. Find a pearl of your genre, reread a favorite (are there any romance writers who don't wear out their Jane Austen novels?) or peruse the bestseller lists for a new read.
Be Inspired. In the same way, attending a lecture, seminar or conference can refill your empty tank. If you can't find one nearby and affordable, try googling for essays on writing. One I love is by Lorrie Moore.
Three Amazing Things. Lewis Carroll wrote that we should do three impossible things before breakfast. For writers who need a jump start, try carrying a small notebook or use your phone or tablet to record three amazing things per day. You could then use these bits in your work-in-progress or tuck them away until needed. Writers notice what's going on around them, inside them and in others. By jotting three of these "noticings" a day, you can reawaken your creative self.

Pick Me Ups for Writers

2011-11-08T11:00:00.000-08:00

Writers are an emotional lot--we have to be to tell the truth in an artful way. This leaves us open to the whims of emotion--and more than a few down days. Rejection, a harsh critique, rejection, harsh reviews, rejection, family & friends who say you need to get a real job, rejection--all this adds up to crushed egos, bruises and and bumps.
Writing Tip for Today: Before you threaten to burn that manuscript, I want to encourage you. The three Ps (Practice, Persistence, Patience) are critical to your success, whatever that looks like to you. On days when you consider taking up knitting instead of writing, here are some pick-me-ups that you can use first on your own tarnished writer's ego, and then on those writers around you who may be discouraged.

You're Just Practicing. Toss rejections you've amassed into the Practice pile. If anyone had told me that my novel, The Fence My Father Built, would go through countless rewrites and 15 years of rejection, I doubt I would have kept writing. With each new bump--from rejections to ill-advised counsel to my own self-doubt, I sometimes set the book aside. But I always came back. I needed a LOT of practice.
Give Up and Go Home. If you stop sending your work out, or worse, never get to submitting it in the first place, how can you persevere? Writers are tested, most of us anyway, and we don't often hit the mark the first few times out. Learn to de-personalize rejection. It just means your work doesn't fit the publication specs according to a human, subjective agent or editor. It doesn't mean you're not worthy. It doesn't mean there's a conspiracy against you. It doesn't even mean the editor or agent is right. Grieve for a day and then move on. That's persistence.
Surprises Await You. I wrote a cute story about my daughter's wedding for an anthology. Her outdoor wedding last July meant we had to rent port-a-potties for the guests. When I didn't hear back from the editor for six months, I assumed this publisher didn't go for bathroom humor, however tame and funny. Almost a year later, I got a notice saying they'd accepted my story. Remind yourself that stuff like this happens all the time in the publishing world. With the Internet, we're attuned to running faster and faster, but both books and periodical publishers often seem as if they still use smoke signals and clay tablets to communicate. Manuscripts get lost. Publication dates get pushed back. After two or three months of waiting, it's OK to check on your manuscript's status. But don't mull too long why you haven't heard about your project. For most writers, if you are patient long enough, persistent as a pesky insect and you practice enough, you'll eventually get where you're going. Enjoy the ride.

The Writer's Dilemma: HEA or HFN?

2011-11-07T10:12:00.000-08:00

In the writing world, there's always a controversy blowin' in the wind. Recently, I read about one called HEA v. HFN or Happy Ever After or Happy for Now. This question, on whether romance readers prefer a romance's ending to be "and they lived happily ever after," or "They were happy for now," seems pretty equally divided, as far as I can tell.
Writing Tip for Today: Romances are driven by the quest for relationship/marriage, and so they depend on the ending to tell the reader this goal has been achieved. For all novelists, whether your novel's ending is happy or not so much, here are a few things to think about:

The 5 Endings. There are only 5 ending possibilities: the main character gets what she wants and is happy, gets what she wants and isn't as happy as she thought she'd be, doesn't meet the story goal--but is happy anyway, doesn't get the goal and isn't happy about it, or doesn't give a rip either way. This last one isn't usually recommended--hardly any reader wants to end a story not caring.
Make that Character Grow. Most readers, while not demanding a perfect ending, want some sort of satisfaction at the end. This usually entails growth of the main character, redemption from some evil or unwise choice, forgiveness and reunion, or some combination of these things. In some genres, readers don't mind (too much) a sad ending, but they demand the character be older and wiser. In romances, readers demand a commitment by the two principals. This can be either implied "ever after" happy, or more subdued "for now" kind of happy.
Climax Scene Test. Whether you tend toward idealizing characters ala sweet romance stories, or you're more realistic as in mainstream, women's or literary fiction, it might help you to experiment with two different climax scenes. Write these as if the character wins, and then as the same character loses. This can help you deepen your characters and your story, learn which is more true to your way of writing things and even help you decide what kind of fiction suits you best. I've been trying to learn to write romance, but it isn't easy for me, and I have to practice a lot. How about you? Are you are HEA or a HFN type writer/reader?

Evaluating Feedback

2011-11-06T14:18:00.000-08:00

As writers, we want to produce our best work. To that end, many writers, both new and seasoned, belong to active critique groups. You might not present your NaNoWriMo chapters to your group while you're racing to the 50K finish line, but at some point we all need feedback.
Writing Tip for Today: Here are some thoughts and questions on making the most of a critique group:

When Should You Show Off Your Baby? Some writers never show their drafts to anyone. Others need reassurance and guidance every step of the way. Wherever you land on the spectrum, remember that you can't please everybody, but you can usually improve a draft, even if the tweak is small. I don't mind critiquing an idea that's still very rough, but I've heard from other writers who get irritated if they feel the writer hasn't cleaned up their manuscript first. What do you think? Is it OK for a writer to reread the same piece in group multiple times? Or do you wish writers would bring a rewrite, but then move on?
Which Method Works for Your Group? Generally, two methods of critique are dominant: The first, used by many writing workshops, is called the Clarion Method. The reader prints out a copy for all members of the group. The group takes home the copy, reads, mulls and marks comments, brings back the copy at next meeting. Each member gets a couple of minutes to summarize their feedback, while the author remains silent, and then the written copies are returned to writer. The other common method, which I prefer, is more immediate. I call it the Real Time Method. The author provides a copy for each member, and then the writer reads aloud the work while members follow along, mull and mark their copies. At the conclusion of the piece, the author is silent while each member gives verbal feedback in addition to written comments, and then returns copies to owner. What do you think? Have you used one or both methods, and do you prefer one or the other? Why?
How Do You Know If Advice is Solid? Here is where subjectivity takes over. In a single group session, you may receive conflicting advice, or (especially in new writers' groups) you may not receive vital feedback at all. I used to panic over feedback, and wound up ruining my writing by taking everyone's advice. Now, when I consider feedback, I try to think about the advice, and consider whether it rings true. I may not want to hear some advice and need time to process. Or, I may decide to reject a piece of feedback if I feel the advice is shortsighted or narrow. To learn more about what good writing is, I read A LOT, I try to get the best feedback I can and I try to stay open to feedback that will involve a lot of work to correct my story's flaws. What do you think? Have you received feedback that you were sure was wrong? How did you resolve that conflict?

NaNoWriMo, Anyone?

2011-11-04T14:41:00.000-07:00

One of these Novembers I'm going to do NaNoWriMo, the 30-day 50,000 word write-a-novel challenge. I have too many irons in the fire this year, but know of several writers who are participating.
Writing Tip for Today: Why would anyone want to participate in National Novel Writing Month?

Explore Ideas. You could give yourself a break away from your "serious" writing projects and explore a story that's been percolating in your imagination. Maybe you aren't sure if a story is beefy enough to be a novel, or you have a character without too much plot in mind. In any case, you can unleash your right brain and go for it.
Get Rid of Your Inner Editor. One of the cool things about Nano is that in order to get 50K words in 30 days or less, you don't have time to be picky. You can turn off that irritating self-editor and keep your right brain pushing creativity all over the page. All that with no little pursed-mouthed critics fussing with your prose.
Have Fun. To ordinary people, writing nearly 2,000 words per day sounds like terrible punishment. To a writer like you or me, it still sounds like punishment, but if you write with abandon, you may be able to have some fun. Even the most cynical or sarcastic writers settle down and write some meaningful scenes. Who knows, you may have started your masterpiece. And all by diving in with NaNoWriMo. It's not too late--if you wanted to join but forgot or put it off, you can still catch up. For more info, go here.

Writer as Speaker: Don't Panic

2011-11-03T11:07:00.000-07:00

I have a speaking engagement this evening. While I'm always advising writers to broaden their reach by developing a public speaking plan, I am aware that the thought of standing before a crowd is terrifying to some.
Writing Tip for Today: So if you're a shy writer, how can you overcome anxiety and speak to promote your writing?

It Ain't Easy. We're all different, so what looks like a piece o' cake to one writer strikes abject fear into the next. But here's a secret: Almost every speaker gets butterflies. Many tricks to overcome performance anxiety are around, including imagining the audience wearing only their underwear, picking a focal point in the back of the room, or doing some deep breathing and praying before you go on stage. Many famous actors and singers have admitted to severe stage fright, yet they have learned to manage it. You can too.
Practice Makes Perfect. In theater, memorization is key to a good performance. If your brain doesn't have to concentrate on the words, it's free to think of other things, such as interpretation or physicality. For speakers, organize your thoughts beforehand, then practice. I don't memorize, but I do organize and then practice until I'm solid on the points I want to cover in the talk. You could record yourself and then play back to weed out bad habits such as too many ums and ers, long pauses or redundancies.
The More, the Better. You will probably flub something your first few times out. I know I have. But as you speak more often, you'll learn what not to do, what works or doesn't works, where your comfort level is. If you speak about something you are passionate about, your feelings will transfer more easily, giving the audience an emotional gut punch. More than information you want your audience to understand and participate in your emotions--whether you're speaking about a cause you believe in or a character you identify with. Hiding from the "speaking" role of the writer won't help. Get out there and try. If you just can't force yourself, another secret of performers everywhere is use of the beta-blocker drugs, which lower your heart rate and keep you from panicking. Not recommending, just sayin'. Speaking in public should be part of every writer's promotion plans.

You Choose: Fiction or Nonfiction

2011-11-02T11:22:00.000-07:00

I was asked by a literary agent if I wanted to write fiction or nonfiction. I have authored or coauthored three nonfiction books and one novel. I prefer to write fiction, but the question niggled at me. I want to do both, but I'll have to choose.
Writing Tip for Today: In today's publishing world, image and brand are more important than ever. While many writers do both nonfiction and fiction, it helps to have one or the other come to mind for a reader. Here's why:

Concentrating on one area helps establish you as a go-to author for a type of novel or a certain topic.
The literary agent can more easily market your work when you either identify with novels or nonfiction.
After you establish your "brand" you may be able to do other projects outside what readers expect, but you may have to write under a pen name. Famous authors such as Nora Roberts and Stephen King do this when they wish to write in a different genre.

Do You See the Forest or the Trees?

2011-11-01T10:23:00.000-07:00

I have a wonderful and seasoned critique group, and several members have won awards, contests or other writing accolades. Yet at times, we make me smile in thinking we're all that. We read bestsellers and a member often remarks, "That line would never make it past this group!"
Writing Tip for Today: We need to always work on our craft, but beware looking at too many trees instead of the forest. What do I mean?

Whose Advice Do I Take? When you get these sorts of critiques, be reasonable about taking suggestions. You can't please everybody.
It's All Trash! Beware using laugh-out-loud bumbles in published books (even bestsellers) to declare that everything out there is worthless. I will admit though, that reading aloud typos, misused words or dangling participles can be fun.
Story Plus Construction Equals Good. If viewed exclusively, bad trees such as sentence construction can block out the sun of enjoying a story. I think it's a shame if a great story is belittled, but the truth is that we all have to do both craft and story not only well but excellently.

Today is November 1, opening day for Nanowrimo. You have until the end of the month to churn out 50,000 words. Ready, set, go!

When You Have to Do Hard Writing Tasks

2011-10-31T09:46:00.000-07:00

I have a necessary yet difficult writing task today. I've been putting it off for months. Let's face it: I'm a coward. Writing is hard enough, but sometimes we face a challenge that looms larger than most.
Writing Tip for Today: Whether it's a writer who must tell a friend her manuscript needs lots of work, an editor who must reject a work, an agent who has to pass on a project or a writer who's breaking off one writing direction to go another, sometimes it's easier to think about than to do it. Why is it so hard to do this stuff and how can we deal?

Dip or Plunge? We're people and people have emotions. Everyone wants to be accepted, liked. If you face a difficult task, decide if you are the toe-dipping sort or the type that just dives into the water.
The How of It. If you're a toe-dipper, you could "practice" your task by writing either a narrative or a bulleted list of things you need to say. The next day, take a look at what you wrote as you would any piece of writing. Rearrange, add or subtract--and filter for emotions that should or shouldn't be part of the spiel. If you're a plunger, at least organize your thoughts before you dive. In most cases, an email or snail mail letter is better than as phone call.
Color Emotions Positive. Find ways to state your case in positive ways. For instance, I know a writer who had to decline to endorse another writer's novel. We brainstormed phrases that would let the writer down easy--without any flaming language.
Be Sincere. If you are framing something in a positive way, it doesn't mean you have to be insincere. We've all had rejection slips that were cryptic ways of saying "No thanks." Don't go overboard on the euphemisms.
Just Do It. Finally, set a deadline for yourself and then keep it. As I've learned, putting off a difficult task only adds to my pain. Do you face an unpleasant writing task? If so, don't put it off!

Recharge and Refresh for Renewal

2011-10-30T15:30:00.000-07:00

I was the women's retreat leader for the weekend my church sponsored. Before we left, we worried the weather would be rainy. We stewed about the two-hour driving time. We were concerned about drawing a big enough crowd. And some of us worried about having NO BARS for our cell phones and iPads. The weather was gorgeous, we got there safely, there were plenty of us and (most of us) forgot about our cells. We hiked, talked, acted and crafted our way to renewal.
Writing Tip for Today: Our little group had never put on the retreat at the location we chose, so there were a lot of unknowns. I was supposed to write a program that would top last year. No pressure, right? I learned there are times I just need to recharge and refresh--even when I'm the leader. How about you? A writer can refresh by:

Get Moving. Taking a walk, gardening, cooking, cleaning. Our brains and creativity can push past blocks as we move our bodies. I get some of my best ideas while vacuuming.
Get Away. Running away for the weekend--to the beach, mountains or even by renting a hotel room for a night. Especially when home has distractions or you have a tight deadline.
Reconnect Spiritually. If you have a spiritual practice, get in touch with your spiritual self. Meditate, walk a labyrinth, do deep breathing or spend time centering yourself. Allow all your worries (will I finish my manuscript in time? Will it be published? Will I be good enough?) to melt away as you reconnect to faith, hope and dreams.

I Know I Need a Blog, But . . .

2011-10-28T11:00:00.000-07:00

Yesterday's guest post by Cheryl Linn Martin drew a lot of comments. I love it! Here's a writer who's doing everything right. I hear a lot of writers say, "I know I need a blog, but . . ." Then they proceed to list excuses.
Writing Tip for Today: Some say blogs have outlived their usefulness. But for writers looking to establish their names, it's still an easy, free way to build a network. Take these things into account:

Target your Readers. If you can offer something more than just wandering journal-type entries, great. Many writers seem to have a difficult time deciding what sort of content to offer. Some try chapters of work-in-progress, others have themes. Cheryl posts about Hawaii where she has lived and where her middle grade novels are set.
Be Consistent. Decide on a schedule and keep it. Even if you post once a week, it's better to be consistent than haphazard. Find what works for you.
Comment on Blogs. You say you have 3 followers and one is your cat? Visit writing/reading/review blogs regularly and leave intelligent comments. You can then provide info for your blog--but first establish a relationship. Nobody likes a hard sell.
Be Brief. Try to limit your posts to say, 250 words or even fewer. If you have a topic that is longer, break it up into multiple posts.
Give Back. While you build your following, invite guests, do book reviews, run contests or in some way offer the reader something other than your thoughts.

I'm out of town until Sunday afternoon, but will try to post. If not, see you Monday!

Success Story: Cheryl Linn Martin

2011-10-27T08:30:00.000-07:00

Today I've invited a newly contracted debut novelist to share her story. Cheryl Linn Martin has been doing all the right things: writing lots, joining writing organizations, attending conferences, keeping up a blog. When I heard that she landed a three book contract for a middle grade novel series, I was so pumped! Be encouraged, all you writers. Here's the scoop in her own words.

Do You Like Riding Roller Coasters?

Then you should be a writer!

You and I have been riding the same roller coaster (known as writer) for quite some time. We’ve enjoyed the highs of a requested book proposal, becoming a contest finalist (or maybe even a winner!), and connecting with encouraging critique partners. But there’s also been the lows of rejection, harsh critiques, rejection, waiting for months, rejection, information overload, rejection, lack of creative new ideas, and . . . rejection.

Be encouraged as you scale the ups, plummet to the lows, soar through the straight-aways, and bullet around the upside-down curves. It’s not all about spiraling through an uncontrollable track. It’s about gaining momentum, surviving the drops, and remaining secure in your seat belt as you dare to reach the highest point and eventually coast into the station.
My first four years on this mega-monster-coaster were loaded with writing and learning. I attended conferences, took workshops, and found a critique group. The next four years were packed with setbacks (but not failure!) as God showed me exactly what I needed to be writing—and how to do it.

The next year took me to some high points in my writing, and by the end of that time, I had an agent, Terry Burns, of Hartline Literary. He worked faithfully to get my work out to just the right editor, and after a little over a year, I was actually offered two, three-book contracts for my middle grade mystery series, The Hawaiian Island Detective Club. I had to consider each publishing house and choose one of the offers. It was a difficult task, as each one had attractive qualities. While in St. Louis for the ACFW national conference, I was able to look at the contracts, make a decision, and let Terry know at Saturday morning’s breakfast!

Now I guess I’m getting off that ride, but I won’t be heading to the merry-go-round. Another roller coaster (known as author), even larger, looms ahead. The world of publishing, major editing and rewrites, marketing, sales, and reviews awaits me.

Work your way through that scary, challenging roller coaster and I’ll see you soon on the second one. I think it’s going to be a GREAT ride!
Thank you, Linda, for allowing me to Guest Blog today.
Cheryl Linn Martin

The Hawaiian Island Detective Club

Book One, Pineapples in Peril, coming in the Fall of 2012
Comfort Publishing
www.cheryllinnmartin.com
www.lifeinflip-flops.blogspot.com

Using the "I" Voice

2011-10-26T12:40:00.000-07:00

I hear from writers who say they've been criticized for using the word "I" too often. Mainly (in my little opinion) this is a holdover from a previous era when being personal was discouraged and most nonfiction and even fiction held the camera farther away.
Writing Tip for Today: If you are writing in first person, using "I" is inevitable. Don't worry so much, especially in the early drafts. If "I" still makes you uneasy, try these things:

Be Honest. Try a bit of your work in both first and third person. Which speaks to you? Are you more comfortable with one or the other?
Read a LOT. Read contemporary published work--what do you find in terms of "I" usage? Does it feel intrusive? If so why?
Rearrange Sentences. If you just can't stand to see a row of "I"s down the left hand of the page, rearrange some of your sentences so that a clause occasionally begins sentences. EX: The stove was still on high, so I turned down the heat.
Weed Out Observing Consciousness. If you are in the first person point of view, you don't need to add that "I watched," I saw, I heard, I knew, I realized, etc. The reader is already in the POV, so these additions are unnecessary and will cut down on the number of "I"s the reader sees.

Heads Up! Tomorrow! I'll feature another writer. I'm excited to introduce Cheryl Linn Martin, who will tell us how she recently landed her first contract (for a 3 book middle grade series) at ACFW. So exciting! Don't miss it.

Introducing Lydia Harris

2011-10-25T09:27:00.000-07:00

Today it's my pleasure to feature Lydia Harris, author of Preparing My Heart for Grandparenting. I'm going to be a first-time grammie in a couple of weeks (or sooner!) so of course I need to brush up on my skills. Welcome, Lydia!

How did you get started writing?

“Some day I’m going to write a book,” I would jokingly tell my kids. Then in December 1996, with grown kids and an empty nest, God nudged me to write.

A writer from my church invited me to attend the Northwest Christian Writers’ Association, and I became a member. I also attended a local writers’ conference and joined a critique group. Soon I began submitting short pieces for publication.
Tell us a little about your journey to publication.
I began by writing book reviews, personal-experience stories, and devotionals. Within 18 months, I had accumulated over 100 bylines. I also started writing a regular column, “A Cup of Tea with Lydia,” published in the Country Register papers in the United States and Canada. As a home economist with a heart for hospitality, writing this column suited me to a TEA. And I became known as “Grandma Tea.” More than a decade later, I still write the tea column, now with a readership of nearly 3/4 million.
Short pieces helped me hone my craft, follow writers’ guidelines, and meet editors’ deadlines. These pieces were like sprints. After several years, I worked on book ideas and submitted proposals. My first ones were not accepted, so I kept writing short pieces. These helped me establish relationships with editors and build a platform. They also prepared me to write a book, which is like a marathon and requires endurance.

Why did you choose grandparents as your focus?

I’m a grandmother of five and love my grandchildren. Also, I know grandparenting is a significant calling. I wrote Preparing My Heart for Grandparenting to affirm grandparents in their important role, provide tools to help them become fantastic grandparents, and motivate them to be intentional about passing on a legacy of faith.
Preparing My Heart for Grandparenting combines my passion for grandparenting and my calling to write. My book is a Bible study for new and experienced grandparents, but it’s not your typical study. Although full of Scripture, it also contains practical and creative ideas to share fun and faith with grandkids. I interviewed dozens of grandparents, and the book includes their stories and quotes as well as my twelve years of hands-on grandparenting.
What’s one of your favorite ways to prepare one’s heart for grandparenting?
Prayer is one of the most important ways to prepare our hearts. It also makes a huge impact on our grandkids no matter what their ages. Our grandchildren never outgrow their need for prayer. My book includes effective prayer tools, ideas to teach grandchildren to pray, and help to pass on an excitement for prayer. One grandmother who completed this study wrote me, “I have learned most of all the importance of praying daily for my grandchildren.”
I’m going to become a grandmother for the first time in November. It’s a boy, and since I have three sons of my own, it feels familiar. Do you have any advice for a first-timer like me?
Congratulations! I know you’re excited about becoming a grandmother. And you should be. You have a lot to look forward to!
A good place to begin is to pray for him, even now before his birth. Then if you live near your grandson, spend as much time with him as possible. Work that out with his parents.
When we expected our first grandchild, I told my daughter I’d like to see my grandson once a week if possible. We lived 45 minutes apart, and for several years I was seriously ill. But we made it a priority to invest in our grandkids’ lives. We still do. Now that they are older and one is in middle school, it takes more effort. With their busy school schedules, we try to see the ones who live father once or twice a month.
For those grandkids who are younger and live closer, we often see them weekly. Also, twice a month I meet with my eight-year-old granddaughter for spiritual mentoring. And whenever possible, we attend our grandkids’ events or invite them to our home. I plan cousins’ days for all five of the grandkids to get together and sometimes have them come for sleepovers.
I would advise any grandparent: As much as possible, make time for your grandchildren and pray for them. Also, pray for and encourage their parents.
Could you share one of your favorite “gramma” moments?
Recently, we took care of our 15-month-old granddaughter on a Saturday while the other grandparents took the two older siblings to the zoo. This gave the parents time to themselves. When we drove up to bring our little gal home, the other grandparents had just arrived with their two charges. Our eight-year-old granddaughter saw us drive up, skipped down the driveway towards us and shouted, “It’s a party! Both sets of grandparents are here!” We couldn’t have received a nicer compliment.

What’s next for your writing?

Right now my main focus in life and writing is grandparenting, and I have several books in mind for grandparents. Since I’m a home economist and have been writing recipes for Focus on the Family kids’ magazines for several years, I’m working on a cookbook for grandparents. I’m also speaking to church and community groups two or three times a month to help publicize my grandparenting Bible study.
Besides that, I’ve written parts of two other books and hope they will be published in God’s timing. One is a Christmas tea book and another is a book of devotions for those who are seriously ill. I also have ideas for Bible studies.
Where can we get a copy of Preparing My Heart for Grandparenting?
You can request my book through bookstores, such as Barnes & Noble, Lifeway, and Family Christian Stores, or order them online at Christianbook.com and amazon.com. You can also go to “store” on my Web site to find additional sites to purchase them online.
Linda, thanks so much for inviting me to be your guest. I think you’ll love being a grandmother! Please e-mail me a picture of your new arrival. And please stop by my grandparenting blog, which I update weekly www.PreparingMyHeart.net.

Can't Wait to Get Back to My Novel?

2011-10-24T09:57:00.000-07:00

I was sifting through old emails and came across one from my long-time friend and super-author, Melody Carlson. As usual, I was eliciting her help (begging, actually) on a story I was doing. At the tail end of the message, Mel wrote: "Well, I can't wait to get back to the novel I'm working on." This from a writer with over 300 books under her belt. I met with her a few months ago at a Costco book signing and she made this same comment. After 300+ books, she's EXCITED to work on a story? How does she do it?
Writing Tip for Today: How excited are YOU to work on your novel? What are some things which might keep you from the kind of enthusiasm a writer like Melody seems to possess?

Trouble with Story Lines. I confess I am better at writing first chapters than I am at completing a story arc. Of course, I'm more of a panster, that is, I don't plot out the story the way some writers do. But as I write more, I'm leaning in that direction. The reason? If I know the scenes I'm going to write today, I'm more eager to get to the keyboard than if I'm mooning around trying to think of what comes next in my story. Solution? Practice! Word Count!
Trouble with Rewrites. I know a very good writer who has been driven to the therapist's chair because she's been rewriting her first novel for 10 years. While we all know of great writers who take decades to produce classics, it all boils down to your characters. Are they worth another rewrite? Are you using the characters/novel to teach yourself how to write a good novel? The solution? Go start a new novel. Let your Problem Child sit for weeks or months, then pick it up and reevaluate. Don't get too many opinions--or at least don't try to implement too many.
Trouble with the Biz. It can be very discouraging if you haven't attained your publishing dreams or even got a toehold on the climb. You may think that a writer like Melody can be excited because she has plenty of options. But most published writers understand that it's always about your next book. The pressure to write a better book than the last never goes away. The Solution? Stay current with trends in publishing, networking and platform. Write your very best. And why not at least pretend to be excited when you open that novel file?

Tomorrow: Grandparenting is very much on my mind these days, with my first grandbaby on the way. Author Lydia Harris will tell us all about her book, Preparing My Heart for Grandparenting.

Making Sense of E-Publishing

2011-10-22T12:04:00.000-07:00

I know several authors who are trying to decide whether or not to e-pub their novels. I am also looking into the idea, but first I'm going to learn as much as I can about my options, trouble areas and how e-publishing works.
Writing Tip for Today: By now the whole writing world knows about Amanda Hocking and the others out there who've cashed in on their e-pubbed novels. What do the rest of us need to know?

What's Your Genre? Many of the success stories I've heard are for genre novels. If you are a vampire/zombie/horror/romance/sci-fi etc. reader, you may be hungry for new titles. If you've written a more mainstream novel, it may be more difficult to target your audience. Think about how you would get the word about your book to your readers. If they only read what Oprah recommended, for instance, you might have to spend a lot to get your book in front of the right noses.
Investigate Smashwords. If you decide to self-publish in e-book format, an easy free interface is Smashwords. But be careful: You must teach yourself to understand their conversion formats, so you can anticipate possible errors when your manuscript is put into the Kindle (.mobil) or other reader format (.epub). I think it would be worth it to get acquainted with Smashwords just so you understand the process. They have a specific style guide, and according to some of my writer friends, it's easy. The catch is that horrible novels are up there with yours and the reader has to cull through a lot of dreck to find you.
Where's the Sweet Spot? This is a crucial part of e-pubbing. At Kindle Direct (Amazon's version) you do have to charge $2.99, but if your book is between 2.99 and 9.99, Amazon pays the publisher (in self-pub, that's you) a whopping 70% of the retail price. A lot of writers do an introductory free download and then start charging.
What's the Catch? The catch is that in order to succeed in selling a lot of e-books (or any other books) you must be a great self-marketer. You must eat, breathe and live to promote your name and your books. 'Nuff said. And if you market to those who read a lot in e-book format, you'll be doing a lot of promotion online. Get educated on what it takes to promote and build a BIG network.
Is Self-e-pubbing a Good Idea? According to Randy Ingermanson (a great resource), self-e-pubbing might be a good idea if you are a good marketer AND 1)An "A" list writer who is not contractually bound (well that leaves out 99% of us) OR 2) You are a seasoned midlist author wanting to cash in on out-of-print or old titles of which you own the rights, OR 3) You are unpublished but your writing quality is very high.

Why Do Hackers Hack?

2011-10-21T12:40:00.000-07:00

Today my email account was hijacked. I hope I don't have too many angry recipients, and I hope few if any followed the probably disgusting link in the email. But I have also watched fellow authors be forced to start over on that Facebook network they worked so hard to grow. When your virtual marketing efforts are undone by a hacker/spammer/sick-o, what should you do?
Writing Tip for Today: I don't know if I'll ever understand why hackers ruin online platforms for honest folk. Here's what I'm doing to undo the damage where possible and make it harder to hack me again:

The first inkling I had was a bunch of "undeliverable" bounced emails. Since I hadn't sent any mass mails, I was instantly suspicious.
I contacted as many "victims" of the hack as I could. I start with a fresh message, send it from a different platform (say online instead of your email program). In my case, the hacker didn't have much in the way of a subject, so I put something in the subject line to alert the recipient that it was really me.
I posted online in my Yahoo groups, Facebook and Twitter that I was hacked and that anyone receiving an odd message should NOT follow the link. There'll be some cross posting, but it's for a good reason.
I ran a virus check on my computer.
Since in my case there was no infection detected, I plan to either change my email password, switch accounts or use the online platform for a while and reinstall the Outlook program.

I don't know if I'm doing everything I can, so if you know something I don't, please let me know! Thanks and here's hoping your network is never invaded by these pathetic hackers.

Recipe for Fabulous Fiction

2011-10-20T14:25:00.000-07:00

I'm not famous for my cooking--although my family tells me I serve a mean Southern fried chicken. But I have worked for years on this dish. I was frustrated until I learned one key thing about fixing good fried chicken: you have to get the oil sizzling hot before you fry. As I gain more experience with writing, I'm more convinced than ever that good writing is a lot like good cooking: it's delicious, you can't get enough and it depends a lot on the ingredients and how/when/where/why they're added.
Writing Tip for Today: In fiction, the ingredients include scenes and components of scenes, sequels, character desires and obstacles, emotion, setting and much more. The point is that a writer may have all the correct ingredients, but unless they are presented in the right proportions, at the right time and with the appropriate motivation, the novel may not work. As you would pay special attention to certain parts of a recipe, like getting the oil hot enough, most good novelists learn to provide these things:

A character with a strong motivation for attaining a goal.
A setting and time period.
At least one Point of View, or narrator.
Scenes with gobs of Concrete Sensory Details.
Sequels or narrative bits that let readers catch their breath or provide essential info between scenes.
Worthy Obstacles.
A Pace that is neither too fast or slow.
A Climax that is the acme of tension in the story.
A satisfying Resolution.

As you work on your novel writing skills, pay attention to the balance of ingredients. Too much of one thing and too little of another and the chicken will be soggy, undercooked or black beyond recognition. When the novel is balanced and paced just right, readers will come back for seconds, thirds and beyond.
Next week: I'll be featuring author Lydia Harris' book on grandparenting (so cool as I eagerly await the birth of my first grandchild in a couple of weeks) and we'll hear from Cheryl Martin, telling us about her writing journey and how she just landed her first contract for a middle grade fiction series. Her story is encouraging, so don't miss it.

Better to Be Original or Good?

2011-10-18T10:01:00.000-07:00

A writer should have something to say. And the writer should say it with as much originality as possible. Many novel writers worry that their premise isn't original enough. But are they worrying about the right things?
Writing Tip for Today: Writing a highly original concept is a worthy goal. But should it be all-consuming? Consider these things:

Nothing New. Supposedly, there are only 12 plots (or a different number depending on the source). These few story lines have been written in many variations over the generations. You might come up with a new mash-up of old story lines. Think Incredible Hulk meets Cinderella (don't try this at home!). But you are probably going to borrow at least part of a story set up.
Convoluted? When I try too hard to come up with an original or unique plot, it ends up looking like a very bad pretzel. Check to see if your idea is smooth enough for the average reader to follow. Test it out on a few writers or friends, but hardly ever your spouse or mom who loves or hates everything you write.
Put Energy Where it Counts. Far better than an original plot, in my little opinion, are solid writing skills, the ability to create mounting tension or rising action with every scene, and the skill to force your reader to follow the protagonist to the very end. To be able to do these things takes practice--lots of it. One way to get loads of practice is to do NaNoWRiMo--National Novel Writing Month, which begins in November each year. How about you? Are you planning to do NaNo this year?

Defining Rising Action

2011-10-17T09:45:00.000-07:00

The classic story arc requires rising action to keep a novel progressing toward its climax. For the first-time novelist (and even some experienced novelists), rising action can be harder to implement than to talk about.
Writing Tip for Today: What kinds of action should a writer consider in the novel?

Keep Characters in Motion. In my editorial business, I see a lot of scenes where the characters are sitting around talking about action. Novels about military maneuvers or battles are especially vulnerable--the characters are standing around in the war room talking about what they are going to do. I think it's better to either act out the battle itself (at least in part) or skip it. Limit scenes of mostly dialogue, and beware the "let's have a cuppa tea" scene where characters sit around and gab. In real life we do spend a lot of time around tables, eating and drinking, but in a novel you limit the action by using this vehicle too often.
Manage Time Accounting. Never say your character is bored, has nothing to do or that a time period is uneventful. Just skip to the next event. What does it accomplish to suggest that anything in your story isn't exciting, tense or full of conflict. My opinion is that by putting a "boring idea" in your reader's head, you risk their putting down your story.
Rising Action Means the Stakes Get Higher. Finally, in order to present rising action, the novel writer must present tension that keeps growing. This doesn't mean things have to explode or burn down. It just means that your narrator must be increasingly agitated, worried or stressed over each new development. And every development must inch the character closer to the goal.

Content versus Form

2011-10-14T11:29:00.000-07:00

Let's say Writer A wants to tackle a novel-length work. Her story is great but her weakness is spelling, grammar and punctuation. Another writer, B, wants to do the same. He is an ace at spelling, etc, pens beautiful sentences, but his weakness is story or scene writing or pace.
Writing Tip for Today: Both these writers have a lot of learning to do. While it's easy to pronounce the first writer's problems as less serious (after all, spell checkers are easy to come by) than someone who doesn't have a solid story, it's not always that simple.

The writer who has a brilliant story but who doesn't bother to brush up on spelling and other errors may never get the attention she deserves from agents and editors. They will reject you without even looking at your work. If you fall into this category, hire someone to clean up your manuscript.
The writer who has a squeaky clean manuscript but whose story is lacking in tension or high stakes may end up frustrated and not really understand why agents aren't biting.
Most of the time, a great story will beat out beautiful vacuous writing. Yet whether you are Writer A or Writer B, pay attention to your craft. Learn both the small stuff (if you don't want to learn grammar names, at least use parts of speech correctly) and the big stuff. For small stuff help, Strunk & White's The Elements of Style is a timeless resource. For story help, Story by Robert McKee or any book on basic screenwriting will help you employ the techniques necessary to a good story.

Evaluating a Novel's Draft

2011-10-13T14:10:00.000-07:00

After you finish a draft of a novel, serious congratulations are in order. So many writers abandon their novels before they type "The End," that you're already in rare company when you finish a draft. Celebrate a little. But then what? Should you hire an editor right away?
Writing Tip for Today: If you have a great critique group, you may already know about your novel's problems, if there are any. Before you rush out to find an editor, consider getting a Manuscript Evaluation. Here's why:

Manuscript Evals tend to be more affordable and take less time.
You don't waste money on edits that might not make it to a final draft.
You get a pair of fresh eyes to read your book--one that doesn't already know you as well as a critique partner or group. An objective analysis won't make the kinds of assumptions that often color the feedback from those closer to you.
You can choose which suggestions to write into your manuscript, try them out, see if they truly fix whatever problem the suggestion was supposed to address.
To find a good Ms. Evaluator, look for someone who is well-published, has strong editorial or teaching experience, or comes recommended by a fellow writer (or can give several references, which you can then check). Online or in-person is up to you, but don't send money to anyone you haven't vetted.
Other Considerations: A good evaluation should be able to give praise for the elements which are working (the strengths) as well as structural (story) advice, help with scenic elements, pace, any point of view problems, and suggest possible fixes for the novel. I always type out an 8-10 page evaluation so that the writer can study the evaluation at his/her leisure.
Find Encouragement. Additionally, a manuscript evaluation should find ways to encourage the writer. If a lot of rewriting is recommended, the writer will probably feel shocked, disappointed that the book isn't ready yet, and many other emotions. I always suggest the writer take a few steps back, give him/herself time to process the advice, and remember that writing is a difficult, subjective pursuit. Advice is only an opinion. Writing is a craft and you can learn a craft. Don't give up, and above all, keep writing.

Uncomplicating Your Book's Focus

2011-10-12T11:37:00.000-07:00

Over the past few weeks, I've worked with several writers who had good or great ideas for both fiction and nonfiction books. Their problem? All tried to make their books too complicated.
Writing Tip for Today: Note that I didn't say too "complex." We want our work to be as complex as possible without getting complicated. What do I mean?

In fiction, too complicated might mean too many characters, settings or subplots. If it's your first novel try to keep your cast as small as possible (perhaps through combining characters), keep the setting constant where possible (don't move readers around just for variety) and limit subplots to two.
In nonfiction, simplifying might mean combining sections to make two weaker ones into one strong section. Or "uncomplicating" may involve rewriting to remove abstract or passive language and replace with Concrete Sensory Detail and story. Remember E.B. White's dictum: "Don't write about man. Write about a man."
In any book, the takeaway value and/or theme must be at least hinted at (in the case of fiction) or plainly stated (for nonfiction) at the beginning. Readers won't hang on if they don't sense a direction to the writing. You must make a point, even in fiction. Your point may not be original, but it must be present and preferably near the opening.

Working with Subplots

2011-10-11T09:47:00.000-07:00

Novels that satisfy are multi-dimensional. The reader feels as if he/she is immersed in the fictional "vivid and continuous dream" idea made famous by John Gardner. Yet subplots, which drive a novel to feel rich with meaning, can hijack and sabotage the main story.
Writing Tip for Today: Here are some thoughts on subplots in the novel:

Limit Their Number. It's good advice to the first-time novelist to keep the story streamlined by not including too many subplots. Two subplots are plenty. So the character's primary goal is the main story, while a romance, relationship or other situations comprise the subplots. If you include too many subplots, they will feel irritating and intrusive to the reader.
Don't Leave the Main Story for Long. While your reader craves action and variety, if you ignore the main theme for very long while you develop a subplot, the reader will either forget the main story or feel confused as to what story is the most important to follow. As in real life, if there's something big at stake (and there should be), your character will be thinking, talking or acting on that big thing most of the time.
Weave a Braid. As your novel nears its climax, you must begin to "round up the horses," the subplots you have written that raise questions for the reader. Will she get the guy? What really happened to grandpa? Is Mom's cancer curable? If these subplots are resolved all at once they may compete with the main story. Treat them like a braid: weaving resolutions to the subplots in the final pages.

Novel Writing: The First Five Pages

2011-10-10T10:46:00.000-07:00

Literary agent Noah Lukeman's terrific book, The First Five Pages, is a good resource for writers. Yet so many of us novel writers forget the importance of such sage advice in our drafts.
Writing Tip for Today: Any book--not just a novel--must give readers a direction in the first few pages. Some may say the first few paragraphs. Take a look at a novel you've read and enjoyed. What are some of the things you learn about the story in those opening pages? Chances are, they contain these things:

Character and Story. You meet a character who will tell you the story. (POV Character) This character will relate some sort of thwarted desire, a path he/she will now travel, or a mystery to solve. The character must convey not only the wants/desires of the character in that moment, but at least allude to the larger want/desire of the story.
Enough to Follow. We hear that back story is highly dangerous in the opening pages. Often a writer can slip in a sentence here or there to hint at where the character has been, but overall the reader wants to move forward. When inserting any sort of back story, remember to weave it into the scene and avoid the cold mashed potatoes pitfall--if your character is eating mashed potatoes when you launch into back story (also known as flashbacks) then the longer you're in the past, the colder the character's mashed potatoes are becoming.
Setting and Time. The opening of the story should set the reader in a particular time (period) and place. Beware the "driving to the story" opening, wherein your character travels from one place to where the main story will unfold. You have to ask yourself why you need to show the character in a place that doesn't figure into the story.
Allusion to the Larger Theme. You may not understand this when you read it at the beginning of the novel, but hinting at the book's overall story goal or theme sets up readers to understand the book on a deeper level, resulting in a more satisfactory experience. Does your novel contain a hint of the theme in its opening? Sometimes a weak opening can be fixed by lopping off Chapter One.

Choosing Descriptors in Novel Writing

2011-10-06T09:40:00.000-07:00

Yesterday we focused on how to describe characters and their actions without boring the reader. Description is vital to fiction (it's a made-up world after all) yet it must maintain a delicate balance. Although one could argue that more description is more "real," too much and it creates sensory overload.
Writing Tip for Today: More pointers on making description work for your novel:

Employ Setting. When describing a scene, don't forget the setting. If the sense of place becomes a mirror for the character's emotions (like a character itself), all the better. If your main character meets an especially steep obstacle, the whirling storm around her mirrors her emotion. But beware: writing a big chunk of description only stalls the action. Much better to weave the description into emotion, action and dialogue.
Create a Mood. Description can fuel the reader's perception of the character's mood or the overall tone of the novel. Resist the urge to lapse into an omniscient-sounding treatise unless you are James Michener or very skilled. Usually, it's best to keep descriptions in someone's Point of View.
Convey Expressions Carefully. We're told to show emotions and reactions, not to tell using words that sum up those feelings. So instead of saying he was ashamed, we write, "He couldn't look at her." But again, beware: roving body parts are part of the baggage that comes with showing emotions. These can conjure some weird images: she dropped her eyes, he took her arm up the stairs, he threw up his hands. I usually replace "eyes" with "gaze" but I've never found a good substitute for throwing up hands. Anybody got an idea?

Draw on the Well of Experience

2011-10-05T10:16:00.000-07:00

Writers use life to create a total reading experience for their readers. The problem we often encounter is deciding which parts of life to include and which to leave out.
Writing Tip for Today: Here's a partial list of important things to remember when writing from the well of experience:

Discern Between Believable and Boring. Connect with readers by including small details (there's that CSD thing again) that make a reader say, "Yes! I've observed this too!" But if you keep going on and on with description, you'll bore your reader. Choose details carefully.
Get a Laugh/Life. When you decide which details to include, take a cue from comedians. A mimic knows just which personality traits, gestures or expressions to exaggerate to make an audience recognize the person imitated. Similarly, don't go overboard with the details--paint just enough to give readers the picture.
Actions Often Precede Words. When writing a scene that combines actions with words, I usually try to put the action first. For instance, a girl is visiting a horse in a pasture. She strokes the blaze on the horse's forehead, murmuring, "You're the best, Beauty." If you have the girl say the words and then pat the horse it feels contrived to me. We usually act either while speaking (hard to do in dialogue) or we act first and then speak.

Is Your Manuscript Ready for Prime Time?

2011-10-04T10:07:00.000-07:00

I guess Blogger wants me to use the new interface--it refused to save my post today. I was trying to post about finished manuscripts--whether your novel or memoir is really ready to shop.
Writing Tip for Today: How can you get your manuscript ready to shop?

Five Good Readers. You can get feedback from five readers of your genre, but remember, if these folks are your friends or relatives, they're already biased. Print out your manuscript and load it into a binder or make a pdf and load onto an e-reader. Ask for specific feedback: where did your interest flag, where were the best parts, how did you like the character, etc. Most readers who aren't editors (and some who are) will do line edits no matter what, but that's OK.
Knowing is Doing. You're probably going to get a lot of nos before you get a yes. If you attend a writer's conference this year or next, go ahead and pay to pitch a few agents. Maybe not your dream agent, but ones who rep your genre at least. Use their reaction as valuable feedback.
Find a Mentor. Sometimes you can get better results from a mentor than from an editor. There are good editors out there, but many will fix the cosmetic stuff and completely overlook the structural issues. You shouldn't pay someone to edit a novel that needs help in the story department or a complete reorganization. A mentor can help you learn the elements of story.

Hostage to the Writing Life

2011-10-03T09:39:00.000-07:00

Last week was difficult for me. My favorite orange and white tabby cat, 16 year-old Oliver, had to be put down. I know--he was just a cat, but the whole experience was stressful and my writing life suffered. Life has a way of interrupting our grandest plans.
Writing Tip for Today: Many of you are dealing with serious interruptions-- a loved one's health crisis, the poor economy or a jillion other things. When life takes your writing life hostage, I've found these things to be helpful:

Journal or at least jot down the way you feel, the things that make the interruption awful, and do this in concrete sensory detail. Don't say, "it was awful." Note details--poignant or plain cruddy--that come to mind.
Indulge in some dark humor. You don't want to be disrespectful, but the worse things are, the more fertile ground for laughter. If this isn't your thing, at least put on a funny movie and laugh a while. And if dark humor can't be found, how about some good dark chocolate?
Writing University. Aren't we all using life to fuel our best efforts at writing? Remember that the deepest hurts we experience are ultimately going to help you connect on a more profound level with your readers. They're hurting too. We write to ease the pain. I'll get over losing my dear sweet kitty. But I will never forget, and that's why I write, really.

Planning for Failure

2011-10-01T13:35:00.000-07:00

The title of this post is meant to get readers' attention. No one wants to plan to be a failure, right? I read recently that a poll claimed that only 1000 writers actually make money or earn their living from selling books. The figure was challenged but it's enough to know that few of us actually make it big.
Writing Tip for Today: Every writer wants to succeed. If you say you only want to write well, OK, but I'd wager that a neon sign reading "Bestseller!" lurks somewhere in every writer's brain. Meanwhile, reality dictates that many writers today will end up self-publishing, fewer will publish with a traditional publisher but will sell modest numbers of books, and a rarefied few will break out with a blockbuster.
Most of us will either be "mid list" or self-published. If you're discouraged by the reality, here is a plan to help you deal with the implosion of those bestselling dreams:

Write Your Best. Write your very best always. Don't stop honing the craft--ever.
Educate Yourself. Find out all you can about both traditional royalty-paying publishers as well as self-publishing companies and options. Never sign a contract if you're not sure about the language, stipulations or any of the terms. Many POD (print-on-demand), subsidy (you pay part of the costs) and vanity (you pay ALL the costs) publishers have package deals that run into thousands of dollars.
Conference Your Work. If you aren't sure whether to shop for an agent or self-publish, take your work to a writing conference and pitch it to agents and editors, just to gauge how ready for the market (or not) your work is. You can get feedback that is worth the fee.
Three-month Shop. If you're leaning toward self-publishing but still hope for a traditional publisher, try shopping for agents for 3 months before you make your decision. If you've blown through say 50-100 agents, your answer will be obvious. But you won't have as much regret that perhaps you could've sold your book but instead self-pubbed. Thanks to C. Hope Clark for this idea.
Close Calls. If you are getting "almosts" from agents or editors, you might consider self-publishing an e-book to gauge interest. Authors have jumped from self-pubbed to big companies after their work sold well in e-book form. So see? You're not really planning to fail, you're simply covering all your bases. Take heart and don't give up or stop writing.

Book Review: Captive Trail by Susan Page Davis

2011-09-29T10:10:00.000-07:00

This week, the Christian Fiction Blog Alliance is introducing Captive Trail Moody Publishers (September 1, 2011) by Susan Page Davis

ABOUT THE AUTHOR:

From Susan: I've always loved reading, history, and horses. These things come together in several of my historical books. My young adult novel, Sarah's Long Ride, also spotlights horses and the rugged sport of endurance riding, as does the contemporary romance Trail to Justice. I took a vocational course in horseshoeing after earning a bachelor's degree in history. I don't shoe horses anymore, but the experience has come in handy in writing my books.

Another longtime hobby of mine is genealogy, which has led me down many fascinating paths. I'm proud to be a DAR member! Some of Jim's and my quirkier ancestors have inspired fictional characters.

For many years I worked for the Central Maine Morning Sentinel as a freelancer, covering local government, school board meetings, business news, fires, auto accidents, and other local events, including a murder trial. I've also written many profiles and features for the newspaper and its special sections. This experience was a great help in developing fictional characters and writing realistic scenes. I also published nonfiction articles in several magazines and had several short stories appear in Woman's World, Grit, and Alfred Hitchcock's Mystery Magazine.

My husband, Jim, and I moved to his birth state, Oregon, for a while after we were married, but decided to move back to Maine and be near my family. We're so glad we did. It allowed our six children to grow up feeling close to their cousins and grandparents, and some of Jim's family have even moved to Maine!

Our children are all home-schooled. The two youngest are still learning at home. Jim recently retired from his vocation as an editor at a daily newspaper, and we’ve moved from Maine to Kentucky.

ABOUT THE BOOK

Captive Trail is second in a six-book series about four generations of the Morgan family living, fighting, and thriving amidst a turbulent Texas history spanning from 1845 to 1896. Although a series, each book can be read on its own.

Taabe Waipu has run away from her Comanche village and is fleeing south in Texas on a horse she stole from a dowry left outside her family’s teepee. The horse has an accident and she is left on foot, injured and exhausted. She staggers onto a road near Fort Chadbourne and collapses.

On one of the first runs through Texas, Butterfield Overland Mail Company driver Ned Bright carries two Ursuline nuns returning to their mission station. They come across a woman who is nearly dead from exposure and dehydration and take her to the mission.

With some detective work, Ned discovers Taabe Waipu identity. He plans to unite her with her family, but the Comanche have other ideas, and the two end up defending the mission station. Through Taabe and Ned we learn the true meaning of healing and restoration amid seemingly powerless situations.

If you would like to read the first chapter of Captive Trail, go HERE.

Internet Works in Strange Ways

2011-09-28T10:07:00.000-07:00

A month or so ago, I did an interview for The Fence My Father Built on Meg Moseley's blog. She's a "newish" author whose debut When Sparrows Fall (Multnomah, 2011) is helping establish her as a fine novelist. Today she wrote that a recognized Canadian blogger, Paul Wilkinson, mentioned my interview with Meg.
Writing Tip for Today: Whoop-de-doo, you say? Not so fast.

The link could open a whole new market for both Meg and me.
It reinforces my belief in the Internet to market and promote our work.
It's a good reminder to set your Google Alerts for both the book title (in quotation marks) as well as your author name. That way you automatically receive notice when out of the way things such as Paul's mention of our interview occur.
There's no such thing as bad ink. Even if the comment hadn't been positive, the more readers who hear about even a "bad" book the more will check out that book if only from curiosity.

Get to the Point

2011-09-27T09:47:00.000-07:00

With so many writers crowding the field these days, it's always good to remember that it's not enough to write beautiful phrases, sentences or even paragraphs. If no story or point is to be found, the most gorgeous writing on earth probably will have a few admirers but will probably not garner a huge audience.
Writing Tip for Today: So what's the point (or story)?

You must have something to say. You may have an unoriginal thing to say but you must have a unique or creative way of saying it. When a reader discovers she's wasted valuable time for no discernible point or story, reader feels cheated.
Your reader must have a clue of where your work is heading very early. Don't allow your reader to wonder what your work is about. You'll probably lose him if you don't state your direction on the first couple of pages.
You must not run too far afield of that story or point. Early in a writing career, it's common to get off topic or write too many subplots that don't support the main ideas. Learn to recognize a rabbit trail and be brave enough to cut it. You may keep all these gems in a folder marked "ideas," or "snippets."
You must not hit readers over the head with your point. If you TELL your readers what the point is, you've taken away their job of figuring out that point and making their own conclusions about its meaning. Rather, SHOW them what you mean, with Concrete Sensory Detail (CSD), active verbs and restrained yet potent metaphor. Resist the Urge to Explain (RUE) is a good thing to keep in mind. Your readers will thank you for it.

Make Research Pay

2011-09-26T10:04:00.000-07:00

Novel writers who can't seem to get any writing done sometimes plead, "Research!" It's a well-known pitfall, to get so involved in the research for a novel that the novel itself lies unfinished.
Writing Tip for Today: Many novel writers have files and notebooks stuffed with research. How about putting the facts and stories to work?

Turn Fiction on Its Head. Turn your research into a byline or cash by writing essays, articles, blog posts or even poetry about the research. Nonfiction short-form is still in demand. So if your novel is about a single mom, for instance, you could write an essay or article on the subject. Many authors use their blogs or websites to showcase a historical era or other prominent topic of their books.
Create Spin offs. Research often leads me to find out fabulous stuff about the era or topic. Trouble is, I can't always use the info in my novel. I keep a file of fascinating stories and/or ideas to write on later.
Talk About It. I've researched Native Americans extensively for my books, and when I'm invited to speak, I can give much more than just the storyline. I've talked on Native Culture and its traditional and contemporary relationships with the Church, shown Power Point slides of Native life and so forth. The audience begins to see why I write about these topics, and becomes more informed.

What's Wrong With Essay Writing?

2011-09-25T14:25:00.000-07:00

Fall term, which begins on Tuesday, I teach a course on novel writing and one on essay writing. For the third consecutive term, my novel writing class is packed, while my essay class is much smaller. If you live near Lane Community College, you might consider my class. You'll be sure to receive lots of individual help that I can't offer in a jam packed class.
Writing Tip for Today: I don't understand the discrepancy in enrollment, but these days everyone wants to become a published novelist it seems. A great goal, but a writer who also develops her skills in writing essays may have an edge. Here's why:

Stepping Stones. If you can write an informative,tight essay, you may be able to gain valuable experience and bylines. Even if the essays are nonpaying markets, the demand for well-written essays is much higher than for incomplete novels.
Time. It takes less time and maybe fewer rewrites to produce an essay than a full-length novel.
Waiting Well Spent. Since novel writing takes much longer than an essay, you may be able to build up your writing resume and kill time by writing essays while you finish that novel.
Versatility. Essays are very versatile, ranging from personal, memoir-type essays to opinion pieces, travel, humor and many more. If you had to research to write your novel, you might be able to write an essay on the research topic.
Markets. With all the changes in the book industry and in writing, period, essays are still in demand. The editorial pages of newspapers and magazines, both print and online, still call for submissions, and chicken soup-type anthologies are still being published. If you write "personal" or memoir essays about your life, you'll have a valuable family legacy even if your essays don't get published.

Info-dumps and Back Stories

2011-09-23T09:57:00.000-07:00

When you bring characters on stage, it's tempting to tell the reader everything about that character. But is this how we learn about people in life?
Writing Tip for Today: We're told not to stereotype others, but in fact we do it every day. We see a scruffy man pushing a shopping cart down the sidewalk and think he's homeless. We observe a woman driving a new Beemer and think she's a success. Neither may be true. There are lots of prince and pauper stories, but a reader must make some assumptions based upon a first glance or two. Learn to make your character's actions describe him/her as much as the appearance.

Wanna Get Physical? If the character's outward appearance is important to the story, show it to the reader right away. If you wait until the character has been on stage a while to say she's a red head or he's wearing an eye patch, it frustrates readers. They've already imagined the person at the beginning of the scene.
Characteristic Actions. To help readers understand your character's motivations, show him/her acting out a minor version of that characteristic. For instance, if you want the reader to know your hero is kind and generous, you might show him taping nickels to parking meters.
Too Much Information. You may be tempted to put everything you know into the description of your character. This might include back story, how the character likes his coffee or even the type of setting she prefers. Resist this urge. Most of the time, descriptions and back stories can't support the story for longer than a few sentences. It's that "Cold Mashed Potatoes" rule: Any time the scene stops to give back story or description, the mashed potatoes your character was eating are frozen in time and getting way too cold.

You Know You've Arrived

2011-09-22T10:23:00.000-07:00

Scrolling through a list of Goodreads books, I noted several authors who have Christmas novels or novellas coming out. I said, "I guess you've arrived as an author when they ask you to write a Christmas story."
Writing Tip for Today: How do you measure success as a writer?

Advance Money. Most writers dream of a huge advance that will propel them into stardom. The fact is, advances are simply gambles. A publisher bets the high advance against major sales they hope for when the book releases. Granted, it's a surer bet when the author is already famous. But one doesn't necessarily follow the other. I know one writer who got a great advance and whose book tanked.
Great Reviews. Again this is subjective. If some reviewers gush, others may gag. The 1-5 star ratings on Amazon are an example of how fickle reviews can be. Some reviewers give every book 5 stars, others are stingy, never giving a top rating. And reviews don't always reflect quality writing. Bring up Da Vinci Code and most say the writing is mediocre to poor, but the story is captivating.
Spin-offs. If you sell a movie option or your publisher sells foreign rights, audio rights or other peripherals, many authors consider themselves successful. While a book may sell modest amounts in the US, those royalties from these peripherals can bring home the dough. I know one author who is the most popular author. In Latvia. Go figure.
Books with Legs. Some writers find accidental success, after their book creates "buzz" and word of mouth spreads awareness exponentially. Whether your advance is large or small, we all hope and pray that our books grow "legs" and end up on more reader's nightstands.
Different Strokes. Success is different for different writers, although I suspect even the most humble writer wouldn't mind a bestseller. But it all begins with one reader at a time, writers doing their best to spread the word about their book. Nobody can read a book if they don't know it exists. That's why we must all help each other. Now, if some publisher would just ask me to write a Christmas book, I'd be a success. Wouldn't I?

Building Characters

2011-09-21T11:51:00.000-07:00

The accepted view on characters is that you must know them in some detail. Yet many novelists approach their characters in too-lifelike a manner. They don't understand why no one cares much for this lifelike character.
Writing Tip for Today: You need characters who are believable, not true-to-life. Here's why:

Too Good to be True. Readers crave more drama than most of us encounter in daily life. This is one reason why those who write actual people into their fiction often fall short. If you find yourself saying, "But that's how it actually happened!" think again. Ordinary life is often boring and routine. So are ordinary characters. Readers crave ACTION, high stakes and worthy goals.
Complex Consistency. Readers want characters who are consistent rather than complex--they need to be sure of that character's basic personality. Unless you can create a complex character, for instance, you don't write a character who is shoplifting without a conscience. Novelists must create consistent characters who appear complex through the use of tags, instilled moral values and a worthy goal and opponent of that goal.
When in Doubt, Exaggerate. Readers also crave larger-than-life or memorable characters. The character becomes an idealized version of the reader, but able to do things the reader couldn't or wouldn't. If you exaggerate a character's moral values, goals and courage, you have a hero/heroine. If you exaggerate physical or emotional traits, most often you have a colorful, quirky or humorous sidekick. Choose carefully the attributes you will exaggerate. Think about the novel's overall tone. If it's a laugh-riot, your novel can have more "colorful characters." If it's a serious novel, pull back on physical quirks and concentrate on the passionate desires, beliefs and secrets of this character.

Writer's Sacrifice

2011-09-20T13:43:00.000-07:00

Yesterday I was in Portland, Oregon to speak to a women's group about my novel, The Fence My Father Built. It's only 100 miles from where I live, but it makes for a long day trip. Today I'm paying physically, even though I had a great time with the women of Christ United Methodist.
Writing Tip for Today: My exhaustion stems in part from a chronic condition I have, Post-polio Syndrome (yes, I'm that old). But everyone has something to deal with, whether it's age or finances or health or something else. With novelists today pressured to be one-person marketing machines, what can we do to manage whatever is keeping us from publicizing our work?

TGFI. Thank God For Internet. The Internet has helped all of us, but especially we writers with disabilities. We're able to reach readers from anywhere on the globe. Blog tours, interviews and web pages help all writers to market and publicize without leaving home. Talk about letting our fingers do the walking.
Dedicated Publicity Dollars. I know writers who take every advance and invest it in publicity--whether it means taking out an ad, hiring your own publicist or having bookmarks printed. Wherever you are financially, try to set aside even a few dollars for your publicity. Home printers can manufacture professional-looking bookmarks, business cards and postcards. Also, be prepared to give away quite a few extra books (beyond the "comps" from your publisher) for blog contests and for reviewers.
Stay Close to Home. From now on, I'm going to respect my physical limitations and recruit book events (book groups, signings, lectures or workshops) within a 50-mile radius rather the 100 miles I've done before. I'm may not be able to do everything, but I can still do some things to help my books gain exposure. Do you have other ideas on marketing close to home? I'd love to hear them.

Character Motivation

2011-09-19T08:00:00.000-07:00

Novelists must answer the what, where and how the character does something. But the biggest question is WHY.
Writing Tip for Today: Motivation is a key element in novel writing. The writer must understand the character in many ways, but knowing why he/she would do or not do something, why he/she's stuck or mad or hurt, why she's hiding things all adds up to motivation. To help get you closer to answering the whys of your novel, do some work around the edges:

Let your character speak to you in a letter or journal entry.
Put character in a situation. How does that character react? Let's say a ten year-old boy doesn't say much but acts distrusting and suspicious. How would he react to a kind and generous offer of help?
Now, list the reasons for that reaction. He trusts little after his dad was killed in a bar-room fight. He's hard-of-hearing and doesn't read lips. He's an arrogant trust fund kid.
If you portray a character a certain way, you are giving the reader a personality--a stereotype if you will. It's up to you the writer to either write to that stereotype or (preferred) create a particular character who is so life-like that the reader accepts what you write. But first, you need to understand your character's motivation in ways no reader can imagine.

Using Story Kernels

2011-09-18T11:35:00.000-07:00

When I first envision a novel, I usually see a character doing something in a particular place. That sets me to asking questions that eventually end up as story "kernels," plot points or scenes which I then must string together to make a story.
Writing Tip for Today: Although many writers first get down a lot of dialogue, my characters don't start talking until I begin to draft. Instead I use these "kernels" to help me ask important questions.

Goal? What does my lead character want?
Obstacle? Who or what stands in the way?
Complication? What are my lead's secrets? What's this person got to hide?
Action? What will the goal, obstacles and complications force this character to do?

I like to include the character's secrets to remind me that I must balance inner and outer conflict. I also go through this same process for all other significant characters. I ask many more questions as I try out the character's voice and get to know them. Many times I'll write a scene only to have the character inform me that he/she would NEVER do it the way it's written. By pre-envisioning the character, it's easier for me to plug into the one of the most elusive parts of that character-- motivation. More on motivation tomorrow.

Book Review: The Doctor's Lady by Jody Hedlund

2011-09-15T10:05:00.000-07:00

This week, the Christian Fiction Blog Alliance is introducing The Doctor's Lady Bethany House (September 1, 2011) by Jody Hedlund

ABOUT THE AUTHOR:

Jody has written novels for the last 18 years (with a hiatus when her children were young). After many years of writing and honing her skills, she finally garnered national attention with her double final in the Genesis Contest, a fiction-writing contest for unpublished writers through ACFW (American Christian Fiction Writers).

Her first published book, The Preacher’s Bride (2010 Bethany House Publishers), hit the CBA Best Seller list on two different occasions and has won multiple awards.

Her second book, The Doctor’s Lady, released this September. She has completed a third book which will be released in 2012. She’s currently busy researching and writing another book!

ABOUT THE BOOK

Priscilla White knows she'll never be a wife or mother and feels God's call to the mission field in India. Dr. Eli Ernest is back from Oregon Country only long enough to raise awareness of missions to the natives before heading out West once more. But then Priscilla and Eli both receive news from the mission board: No longer will they send unmarried men and women into the field.

Left scrambling for options, the two realize the other might be the answer to their needs. Priscilla and Eli agree to a partnership, a marriage in name only that will allow them to follow God's leading into the mission field. But as they journey west, this decision will be tested by the hardships of the trip and by the unexpected turnings of their hearts.

If you would like to read the first chapter of The Doctor's Lady, go HERE.

Watch the book trailer:

Fictional Time

2011-09-14T10:40:00.000-07:00

Fiction writers need several skills to bring their story to life for readers. One of the most crucial skills to master is the use of time. What may take place over a month in the story may take the writer a day to craft and may take three minutes to read.
Writing Tip for Today: As novelists, or even in nonfiction, time management is crucial. The levels of writing, in terms of how the reader perceives it, go from fastest reading to slowest reading. Narration, Dramatic Action, Dialogue, Description and Exposition make up these levels. Let's define them:

Narration. The fastest reading of all, here the writer summarizes for the reader. Use narration to get quickly from one plot point or important event to the next, as a bridge between scenes that are not consecutive or to gloss over unimportant details.
Dramatic Action. This is the meat of a scene, where you are helping the reader see the story as a film or play acted out in front of them. Act out important things such as plot points, scenes that move the story forward and places where you intend to show the reader something.
Dialogue. Pretty self-explanatory, but because dialogue reads quickly, the writer cannot afford to let characters talk about the weather, go on and on about nothing or say anything that doesn't contribute to the story goal or the character goal. Try to edit out all hesitations such as ers, ums, wells and so forth. To get better at dialogue, practice listening to people talk.
Description. Now we're really slowing down. Description halts action, and while you may need to use it to slow down a fast-paced scene, try not to write more than a paragraph of description before you touch base with the real-time scene. The longer you are away from the action, the more likely you'll lose your reader.
Exposition. These days, few writers of fiction can get away with exposition that goes longer than a couple of lines at a time. When you veer away from people and scenes and force facts or a lecture down a reader's throat, you are likely to lose the reader. Ask yourself if you have some agenda--such as you want to educate your reader. Hardly ever works, because readers can sense when they are suddenly getting unasked for information. Use with caution.

More Tight Writing Tips

2011-09-13T09:50:00.000-07:00

Today, I'm continuing with some easy ways to tighten your writing. What do people mean when they say, "This piece needs tightening?"
Writing Tip for Today: Along with the tricks of sentence construction and how to describe without overloading, tight writing includes some of these:

To Scene or Not to Scene? Beginning writers often describe, in excruciating detail, the inconsequential, while summarizing the important stuff. In fiction, this might mean that the reader must wade through a long scene wherein the character is waking up, sliding into the robe and slippers, going for the coffee pot, etc. The reason we rarely need this type of scene is that almost everyone follows a similar routine. To tighten, simply write, "She got up and dressed for her day." If you spot a scene where the goal is to get a cup of anything, you may wish to rewrite. Then, considering acting out the important goal of the scene.
Action, Action, Action. Take a look at your scenes. Do many of them occur around a table? In real life we do spend a lot of time yakking over tea, coffee or beer. But in fiction this idea doesn't translate as well. The reason? The action is limited to mouths moving (dialogue) and some occasional sipping, swigging or guzzling. Rethink scenes where the table is central. Reset in an active environment. Your characters could be weeding the garden, building a rabbit hutch or hiking through a forest, urban or rural. Readers Crave Action.
Writing Beyond Dialogue. Many times writers draft their fiction in nearly all dialogue. While we've been told to avoid talking heads, long speeches or other dialogue pitfalls, take a look at your dialogue. Is most of the story told through what the characters say? To tighten, move past this idea and insert more body language and internal emotions. Even your setting can tell part of the story. Don't make the dialogue shoulder too much of the story question.

Tighter Writing Made Simple

2011-09-12T09:49:00.000-07:00

On this blog, I try to mix up the topics, swinging from the lofty heights of creativity and the writing life to everyday tips from the trenches. Lately I've met quite a few writers eager to advance to the "next level," whatever that means for each person.
Writing Tip for Today: Taking a step forward in learning the writing craft often means writing tighter. Here are some simple ways to keep your prose moving and "tighten up" the results:

Stick with Active Verbs. As we discussed yesterday, avoid the passive voice (to be verbs) and be on the lookout for those pesky "ings" whatever you want to call them. Direct and active prose keeps readers going forward.
Tone Down Modifiers. Are you seeing a pattern in your work? One where each noun has two modifiers (adjectives) or some other predictable pattern? You can edit out modifiers by choosing more particular nouns and verbs.
Prepositional Horse Fodder. Tighten your stuff by eliminating extra prepositions and substituting contractions or breaking up long sentences. Thus, "She drove to the house by the ocean," becomes, "She drove to the oceanfront home."
Watch Descriptions. We're told to offer the reader lots of concrete sensory detail, (CSD). But be careful: over description halts the action. Learn to weave description into the action to avoid big slabs of dense description. Try this: Only describe a few details that come with an instant impression. You might mention a person's cow lick or their red suspenders but skip over other less unique details.
Resist the Urge to Explain. RUE is good to remember. Explanation stalls action. Just SHOW it.
Dialogue Dumping Ground. Limit your dialogue to words the characters would really say to each other. If you dump stuff you need the reader to know into the character's mouth, it's not credible and the reader resents the author's intrusion. People don't say aloud stuff they both already know. EXAMPLE: "You know, Harold, that we have to stay 24 hours in your Aunt Gert's haunted house in order to collect the 1.5 million dollar inheritance money." Who would say that? I thought so. Today, look over your draft and if you spot these issues, get out your red pen.

A Writer's Vocabulary

2011-09-11T14:18:00.000-07:00

I'm an admitted NYT crossword puzzle nut, although I'm not always the first one finished. Like comic writer David Sedaris, I often get stumped as the puzzles' difficulty increases through the week. I've noticed, too that I rarely use some of the more obscure or lengthy words I find in the crosswords.
Writing Tip for Today: I don't know about you, but the bigger my vocabulary grows, the less often I get a chance to show it off. I've heard more than once that a writer should strive for clarity (no pun intended) rather than off-putting "one hundred dollar words." Here are some thoughts on word choices:

Be Particular. Never use a modifier (adverb) when a particular verb will do. We've all heard that "ly" words (adverbs) are not our friends. Go through your last draft and cross out all adverbs. Replace with verbs that describe action in a particular way.
Be Active. Another old but valuable idea eschews the passive "to be" construction with active verbs. Go through your draft and circle all the "is," "was," "are" and "were" you spot. See if a more active noun-verb-direct object sentence paints a better word picture.
Lose the "Ings." If you see many "was walking," "is looking," or similar gerund usage, underline the "was ing" and replace with the simple past tense version of the "ing" verb. Thus, "was walking" becomes "walked."
Particular Nouns, Too. Avoid vague nouns that don't buy you much: thing, stuff, something, everything. You don't always have to cite name brands (such as saying it's a Corvette not a car), but always keep your reader in mind. Are you helping the reader envision the same word picture you had when you wrote it?
Remember Your Tone. Most of us aren't writing doctoral theses, and the tone of our work shouldn't sound like one. If you want to cultivate reader trust, keep the reader close and intimate and convey your ideas without sounding stentorian (look it up) use precise but plain language. Now that's Clarity.

Pursuing Story Wow

2011-09-10T15:42:00.000-07:00

You've no doubt heard writers say of a bestseller, "So-and-so is such a poor writer--he/she must have had an 'in' with an editor to get published." While it is true that "who you know" matters, most novels which achieve bestseller status have at least one of two things: A great story, or a timely subject.
Writing Tip for Today: It's tempting to grouse about successful books which don't meet our writing standards. A little jealousy may be necessary in keeping writers honest and always striving to write better stuff. If you're convinced a book shouldn't be popular based on the writing ability of the author, it may be more productive to look beyond sentence structure and ask why the novel succeeds.

Story Wow. Is the story, character or novel structure unique and irresistible in some way? Readers will overlook pedestrian writing if the character is strong enough and the story has a compelling conflict at its center.
Ride the Trend. Is the novel hot because it is derivative? They say the Beatles were successful partly due to their timing. Vampire stories have been able to cash in on Stephanie Meyers' success in recent years. No doubt the Next Big Thing is already on the way. Your story may have to wait for the right time in order to get the attention it deserves.
Excellence, Always. Go ahead and lament the rise of fads and trends in publishing. But strive for excellence. Keep refining your style through lots of reading and writing. Find a mentor, a good critique group or take some classes. If you aim to be the best writer you can be, then when the type of story you write is in demand, you'll have the skills to wow readers with a killer story and some beautiful prose.

Before You Rewrite: Breathe

2011-09-08T10:12:00.000-07:00

What if your synopsis ends up pointing out glaring plot holes or errors? The novel you thought was ready to shop now needs a total overhaul.
Writing Tip for Today: I can remember plenty of times when I trotted out a novel too soon. It isn't pleasant when you thought you saw the light at the end of the tunnel, only now you must tear apart the novel.

First, breathe! You may feel overwhelmed. Whether you got this rewrite news from your synopsis, an agent editor or just a writer friend, you didn't create the problem in a day and you won't solve it a day. Take time off from the project if you need to. Go write something else. You'll know when you can stand to face the task before you.
Consolidate Ideas. Many times, writers get all sorts of advice and it may be conflicting advice. What to do? After your breather, take a careful look at the different pieces of advice. Which suggestions are from those you admire? Even more importantly, which are ideas you feel you understand and might be able to accomplish? Decide on which ideas are ones you can tackle and jettison the rest. Story boarding can help.
Take Time. Finally, a novel that needs major rewriting may take awhile to reorganize, restructure and rewrite. Decide on a certain block of time weekly or daily, and take it a bit at a time. You must feel that your characters are worth the effort or you won't want to finish.

The Creative Synopsis

2011-09-07T10:07:00.000-07:00

Yesterday's post on synopses got a lot of writers out there in a tizzy. It can be so disheartening to finally realize that your novel still needs major reworking in order to be salable in today's market. Try not to panic.
Writing Tip for Today: Some writers cling tenaciously to overwritten synopses that don't do their jobs, claiming they want theirs to be "creative," or give "flavor" and "voice" to the synopsis. While this is admirable, it often doesn't work the way writers intend. If your synopsis is stuffed with witty asides or quotations of dialogue from the novel, it may backfire.

Where's the Story? Think of a synopsis (and by extension, the query letter) as an x-ray. It should be a bare bones (sorry, couldn't resist) version of the unique and creative book you've slaved to produce. If you clutter your synopsis with colorful phrases or dialogue that makes it hard to follow the story, the agent/editor you're trying to impress may come away more confused than anything. If you must include dialogue from your novel, one pithy line (preferably one that sums up your theme) will suffice.
Don't Mess with Success. Some writers try to gain attention by messing with the synopsis' style, which is admittedly dry and direct. I'd counsel you to play it straight here. What you gain by using a gimmick, you lose as the editor/agent tries to figure out what exactly your story is. I heard about a writer who inserted animated emoticons into a synopsis. I can imagine the headache any reader might get from watching happy faces dance all over the page. Don't do that.
Simple Does It. Get used to the idea that while you've poured your very soul into this novel, a synopsis is meant to strip away most of the bling and leave the story standing, naked, in front of that x-ray machine. If the story isn't readily visible, or if it's too simple or too complicated, your story may need major surgery.

What Your Synopsis Can Tell You

2011-09-06T10:27:00.000-07:00

For first-time novelists, writing the synopsis/query/cover letter is often scary and laborious. Kind of like Cinderella's Prince trying to shove the glass slipper onto one of the stepsister's enormous feet. All of our creativity, loving-care and effort must be shoehorned into two-pages or less. Ouch! We all complain about how dull, time-consuming and plodding these things tend to be, but wait.
Writing Tip for Today: The synopsis, while undeniably a chore, can be an important clue in diagnosing the health (or lack of) of your novel. Problems such as the ones below point to the need, not of writing a better synopsis, but of writing a better story.

Symptom: Synopsis Length. You are having trouble squeezing your plot into a two-page (500 word) synopsis. You edit and edit but you just can't seem to winnow it down. Diagnosis: One or both of two problems might be occurring:
One, you have a cast of thousands, making it necessary to name all these people in your synopsis. Try combining characters, and for every character you mention in your synopsis, ask, "What is this person's role in the story?" If the answer is to add flavor or to fill out the scenery, consider killing off or combining the lesser characters.
Two, if you can't describe the plot points in 500 words, your story may be so complicated that readers will be more confused than entertained.
Story board your plot points and see if there are ways to cut down on these common problems: 1. Character goes to too many places. This means you will automatically have LOTS of characters for each locale. 2. Too many subplots. For a first novel I recommend no more than two subplots. 3. Too ambitious. The plot will not read "clean," that is, the reader will have trouble identifying the main conflict and goal. Simplify the story arc. Give your protagonist a main goal and a couple of subplot goals.

Book Review: A Whisper of Peace

2011-09-05T09:55:00.000-07:00

This week, the Christian Fiction Blog Alliance is introducing A Whisper of Peace Bethany House (September 1, 2011) by Kim Vogel Sawyer

ABOUT THE AUTHOR:

Kim Vogel Sawyer is the author of fifteen novels, including several CBA and ECPA bestsellers. Her books have won the ACFW Book of the Year Award, the Gayle Wilson Award of Excellence, and the Inspirational Readers Choice Award. Kim is active in her church, where she leads women's fellowship and participates in both voice and bell choirs. In her spare time, she enjoys drama, quilting, and calligraphy. Kim and her husband, Don, reside in central Kansas, and have three daughters and numerous grandchildren.

ABOUT THE BOOK

Ostracized by her tribe because of her white father, Lizzie Dawson lives alone in the mountains of Alaska, practicing the ways of her people even as she resides in the small cabin her father built for her mother. She dreams of reconciling with her grandparents to fulfill her mother's dying request, but she has not yet found a way to bridge the gap that separate her from her tribe.

Clay Selby has always wanted to be like his father, a missionary who holds a great love for the native people and has brought many to God. Clay and his stepsister, Vivian, arrive in Alaska to set up a church and school among the Athbascan people. Clay is totally focused on this goal...until he meets a young, independent Indian woman with the most striking blue eyes he's ever seen.

But Lizzie is clearly not part of the tribe, and befriending her might have dire consequences for his mission. Will Clay be forced to choose between his desire to minister to the natives and the quiet nudging of his heart?

If you would like to read the first chapter of A Whisper of Peace, go HERE.
Kim can be reached through the Contact link on her Website

Tricks for Creating Compelling Characters

2011-09-04T13:43:00.000-07:00

Thanks to those who have been waiting for this post. I evidently forgot I was still doing the compelling characters theme. But never fear!
Writing Tip for Today: Tricks might not be the best way to describe creation of a character. It's mostly trial and error and a lot of writing and exploring. But there are a few things you can do to get your reader hooked and stay hooked:

Know Your Character. Do as much background exploration as you need to do in order to make a character come alive. This might include but isn't limited to: writing in a journal where you allow your character to tell you about him/herself; gathering of photos or drawings of not only your characters' physical appearances but the setting, the supporting cast and other pertinent info; or newspaper/magazine clippings, (especially obituaries or feature stories) that highlight an activity or habit you have given your character. Combining several real life people into one composite character will help your character be unique. The obits are also great places to spot unusual names.
What's the Secret? Your character (and also your antagonist or villain and supporting cast) should have a secret that can be revealed slowly over the course of the story. This secret might be central to the story or it may be more peripheral. Secrets make characters more interesting.
Where's the Redemption? In order for hope and/or redemption (not only in a religious sense) to occur, the reader must have an idea of a character's major wound. Ask yourself what has hurt your character the most?
Larger-than-Life. Readers want a character who feels larger-than-life in some sense. Perhaps this person takes risks most people wouldn't take, or is an extremist in personality traits such as determination, love, honesty or forgiveness. In the beginning of the story the character can possess these qualities but maybe he/she applies them in ways that hurt or don't help the character. Over the story, you as the writer can document the character's growth toward (we hope) a more positive version of the attributes he/she already has. Try listing all the attributes you think your character possesses and then link them with an action that backfires for the first part of a story.
Learn to Weave. Last, but not least, learn to weave your character's attributes into the action. Chunks of "he was this or that," followed by action and then back to more description stalls the story and usually forces the writer to use a lot of passive language. Take a recent novel that you admire and look for places where the author has used the action of the scene (and not only through dialogue) to paint a compelling character. Note how this writer inserts short but essential "beats," or clues to this character's personality, attributes and wants/needs. They are written directly into the scene without resorting to separate chunks of narrative where the action stalls. Practice these "woven" techniques, and you'll see your story suddenly pick up in tempo and in interest. And, we hope, the character you describe will be so compelling that readers will have to keep reading.

Get the Most From Your Critique Group

2011-09-03T12:53:00.000-07:00

A reader has asked me to post about critique groups. Although I've done some posts on the subject, now, as we head into Fall is a great time to refresh our memories.
Writing Tip for Today: A certain amount of magic is involved in a good critique group. That is, certain groups of writers mesh and complement one another better than others. If you are ready for more advanced critiques, have a beef with your existing group or just want to brush up on the qualities of a good critique group, here are some things to think about:

What Do You Need? Ask yourself what you need from a critique group. Although we all want feedback that will help us improve, some of us are better at both giving and receiving that feedback than others. If you are giving or receiving crits that are emotionally loaded or that don't encourage, remember that you are judging the writing, not the writer. Practice taking a shot at critique on the "big picture," even if all you feel comfortable in giving are spelling or usage errors. I want a group capable of alerting me to structural errors, misperception of characters or straying from the theme. I also appreciate my group members pointing out awkward sentences or places that zip by too fast or take too long. I don't need pointers on spelling, usage or punctuation in the verbal critique, although if there are errors, I definitely want others to correct them in writing.
Sandwich It! My style of critique, which I teach to my students, is to give a positive comment, a constructive (not negative) one, and end with a positive. Makes the medicine go down much more easily.
Choose a Moderator. For a peer group, it can help you stay on task and prevent hurt feelings if each time you meet you decide on a moderator for that session. Change moderators frequently. The moderator is the timekeeper, the organizer (who reads first, second etc) and the Sgt.-at-arms, to curb defending, interrupting, small talk or other distractions. The moderator also reminds where necessary, that as critiquers we are not trying to rewrite someone else's story the way we think it should read, but to offer suggestions and leave the decision to the writer. Conversely, the writer must remain silent after reading, uttering only "Thank you" for the feedback. As the author you will not be able to visit every reader and "explain" what you really meant. If someone in your group doesn't get it, you need to be sure you are communicating clearly.
Review the Rules. Every so often, take a few minutes to review the group rules and to discuss individual writing goals. Asking a writer what kind of feedback they are looking for is a helpful way to defuse our natural inclination to boss other writers around.
Time for the Next Level? Only you can answer this question, but if you've outgrown your group, keep your eyes and ears open for possible spots in groups with writers whom you admire. Solicit other similar writers as yourself by posting in writing organization fora or online sites. If you cannot find a suitable group, consider joining a facilitated group, where writers pay an advanced writer/teacher to participate. The money will be well-spent if it helps you get where you're wanting to go.
Other Nuts & Bolts: Decide whether your group will read manuscripts ahead of time or read aloud on the spot with copies. I favor the second method. It can be a real discovery for everyone (including the writer) to hear how writing sounds. Also, we all have the best of intentions, but in my experience, reading ahead gets put off until ten minutes before group. Practice this style of critique and you will learn to spot and diagnose problems quickly. Trust me, it works.

Next Post: How much time should each feedback giver take? Should members expect to read every week? What should be done about members who give critiques but rarely have any material themselves? Should a group make a rule about submitting to editors? What about fiction v. nonfiction, or short pieces v. novels or books? How to audition a new member, and how to let a member go.

Compelling Characters, Part II

2011-09-01T11:00:00.000-07:00

Some writers seem to have a built-in knack for creating characters that readers can't help but follow. For the rest of us, it's a learning process.
Writing Tip for Today: In that learning process, we often start out with less-than compelling characters. This shortcoming is critical. Story IS character. Character IS story. Here are a few more character types which often can't go the distance:

A Lot Like Me Character. The protagonist is a thinly-veiled version of the writer. While we all must start with writing what we know, this character often derails a story. Either the "real life" facts get in the way (as in the way it really happened isn't dramatic or is overly dramatic), or else the character wanders around in the story, loading lots of interior thought and back story onto an already weak story. If they must use their own life, writers are better off carefully constructing a composite character who is distinct from the writer in some important ways.
Multiple Viewpoint Crowd Characters. Unless you're writing romance (where both hero and heroine viewpoints are standard), the first-time novelist is wise to master a single viewpoint novel before tackling a story in which every character gets a POV. With each additional viewpoint, a reader's sympathies and interests are diluted. With a poorly executed multiple viewpoint novel, a reader won't know who to root for, so may end up deciding it isn't worth the trouble. Ask yourself, "Whose story is this?" when choosing the POV character.
The Ambivalent Character. If the character's attitude is "Who cares?" the reader will agree and not be able to hang on until the character begins to grow past the blase. As Kurt Vonnegut famously said, "Make your character want something right away, even if it's only a drink of water." Some writers try to portray a character who has lost all hope and then guide the reader through to where the character gets that hope renewed. Trouble is, a reader isn't going to stick with a character who doesn't give a fig long enough to see the redemption.
The Dark Character. Often championed by experienced writers, this character sums up the underbelly of life, jaded and cynical. It takes a lot of skill (like the antihero) to write a compelling narrator who has given up on life and sees nothing but dark days ahead. This is what real life often feels like, but readers need hope and growth and redemption in order to stand a character who's Debby Downer all the way.
The Perfect Storm. A character who has been thwarted but who resolves to overcome those obstacles is a character who can grow. Add in generous helpings of hope and intense desire to create memorable characters. Next up: Tricks to help you create compelling characters.

Creating Compelling Characters

2011-08-31T10:08:00.000-07:00

In fiction, creative nonfiction and memoir, one of a writer's most important tasks is to create a narrator who readers are compelled to follow. I remember not quite getting the idea of compelling early in my writing life. I finally understood compelling to mean a character who I may or may not exactly like but whose goals and the risks to attain them are urgent and thus pull the reader forward. It's that "I couldn't put it down" idea.
Writing Tip for Today: Your narrator must possess an inner and outer life that mirrors the urgency, high risk and difficulty of the story line. Many characters who fall short of this goal are written in a way that either confuses or turns off the reader. Here are some examples:

Your Mother-in-law's Character. A protagonist (hero or heroine) whose inner thoughts are critical of everyone around them. Most of the time, the writer is trying to contrast the character's usual setting or station in life with the one they've just walked into. But if the character comes off as intolerant, hypercritical or haughty, it's not going to sit well with the reader. My apologies to the many mothers-in-law who are like me, kind and never critical.
The Midlife Crisis Character. This character is often confused and doesn't know what she wants. Right away, the writer is at a disadvantage, trying to sell someone who isn't passionate about anything, or would be if he just figured out what it was. A character who doesn't "want" anything in particular makes a reader want to put down the story. Give your character a clear goal and high stakes.
The Social Misfit Character. Many writers tell me they don't want their character likable, they want their character to be anti-hero. I once had a student whose character had 3 months to live and was determined to go out and kill everyone who'd wronged him before he died. Uh, even Dirty Harry had a few social skills. If your anti-hero has a few attributes, such as generosity in some way or forgiveness or redemption, readers are more likely to buy in. It takes a very high skill level to pull off a Hannibal Lecter-type character.
There are more un-compelling types of characters--more on that in the next post.