Tag: Writing Craft

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Writers Chat

Writers Chat Recap for July

Writers Chat Recap

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Brandy Brow, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Writing Books, Releasing a Sound with Louisa Treyborac

Author Louisa Treyborac joins us from France to share her unique writing journey. She reminds us, “you have a quill” and an opportunity to smuggle God’s redemptive message into our stories. Louisa’s spiritual and writing journeys are intricately intertwined. She explains how she learned to be a better writer by translating stories from English to French and the value of entering short story contests. Louisa likes to update public domain classics like Agnes Grey (Anne Bronte) and Persuasion (Jane Austen) to create a modern series. You will be inspired and encouraged by Louisa’s creativity which is rooted in her prayer, “Lord, give me Your strategy for that.”

Watch the July 11th Replay.

Louisa Treyborac, born in Paris, speaks five languages, and follows the family tradition transmitting stories. She writes in French and should soon publish in English. An angelic fantasy novel, an edgy fantasy soft crime fiction, a steampunk dystopian novel for teens, and short stories for kids are part of her inspired creations. And there’s more to come!

From Inspiration to Editing: How AutoCrit Can Help You Unlock Your Book’s Brillance

In this episode of Writers Chat, Jocelyn demonstrates how AutoCrit can make your book shine bright. She also shares how their approach to stronger writing incorporates research from millions of books and the principles of great storytelling into their software. With more than ten years’ experience helping authors produce better books, AutoCrit has kept its finger on the pulse of the industry. Get a look at advanced tools to plan, write, and edit your books. Plus, a vibrant private community for networking. They also have a successful catalog of genre courses and writing workshops.

Watch the July 18th replay.

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. The permanent Zoom room link is: http://zoom.us/j/4074198133

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Writing with a Disability (Different Ability)

Try Something New

After returning from this year’s Blue Ridge Mountains Christian Writing Conference (BRMCWC), I was excited about the new writing opportunities I had. Doors were opening before I even attended the conference. I was selected to be one of the new columnists on Patheos.com.

Not only will this be a great platform builder, it will introduce a new audience to my writing, beliefs, and style. It is important for writers to keep writing and learning the craft, which improves our writing in a few ways.

  • Diminishes fear
  • Develops style
  • Develops strong writing disciplines

“Learn as if you were not reaching your goal and as though you were scared of missing it.”

Confucius

After my accident, I not only had to relearn everything, I needed to learn new skills and processes to help my brain and body heal. Adaptation is a healing process.

Know to Grow

Albert Einstein observed, “Intellectual growth should commence at birth and only ceases at death.”

 After my accident, the doctors removed the right side of the frontal lobe of my brain so my brain could form new pathways to functioning.

Doing new things helps stimulate brain growth and health. Our brains finish growing by age 25. However, there are things we can do that help our brains form new pathways and abilities.

Learning new things actually rewires your brain, because of its neuroplasticity. Reading and writing are two of the main ways we can increase our brain’s neuroplasticity. So, the more you read and write, the more efficient your brain will be.

Music, dance, and exercise also help improve our brain’s neuroplasticity. The old cliché about a body in motion staying in motion applies to our brains as well.

Keep Going

“The more you read, the more things you will know. The more that you learn, the more places you will go.”

Dr. Seuss

Our writing improves because it helps our brains. Below are a few tips to help improve your writing from wordstream.com.

  1. Brush up on the basics
  2. Write like it’s your job
  3. Read like it’s your job
  4. Find a writing partner
  5. Join a workshop or take a night class
  6. Dissect writing that you admire
  7. Imitate writers you admire
  8. Remember that outlines are your friend
  9. Edit your work ruthlessly
  10. Accept that first drafts are almost always crap

Just like staying active keeps the body going strong, consistent writing helps make our brain and writing skills stronger. Just because our brains have finished growing, doesn’t mean we can’t help improve their performance or focus.

By trying new things, we will test our mental and physical stamina. Improving our brain functions will improve our physical health also. Don’t be afraid to try something new, we’re all beginners at some point.

Don’t Be Afraid

“Anyone who stops learning is old, whether at twenty or eighty. Anyone who keeps learning stays young.”

Henry Ford

The reason why we like staying in our comfort zones, because they are familiar, less stressful, and are less challenging. However, comfort zones don’t challenge our brains and that can be harmful.

When our bodies are inactive for long periods of time, atrophy can set in and cause our muscles to deteriorate. Neuroscientists have learned that we can lose brain cells when we fail to use our brains more often.

This is why it is good to try new things as a writer, even if we are scared or untrained in a particular area. Below are a few new writing areas I am interested in trying.

  • Poetry
  • Journaling
  • Ghostwriting

My motto in school was, never rest until you know you can pass the test. There are plenty of writing opportunities for writers to explore. New opportunities challenge our brains and sharpen our writing skills. With new skills comes new growth in both our health and careers. I challenge you to think about new chances you have to grow and create as a writer, don’t be afraid to try something new!

Martin Johnson

Martin Johnson survived a severe car accident with a (T.B.I.) Traumatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at MartinThomasJohnson.com  and on Twitter at mtjohnson51.

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Writing Mentors

An Interview with Writing Mentor Pat Butler

Why do you write? Do you have a theme, message, or goal for your books?

  • I feel called, compelled, and born to write. I can’t not write. It helps me understand what I’m thinking, feeling, experiencing. Whether poems, essays, devotions, or nonfiction, I write with insights and messages to strengthen, encourage, and comfort.
  • I also write to influence readers to perceive God. To spark a thirst in others to seek God for the first or the umpteenth time. To encourage readers to catch God at work in ordinary life, in playful and revelatory ways.
  • A core message is to reveal God as he is, not as we imagine him to be. In two poetry chapbooks, I focused on home, family, and the father’s role in a child’s life. A third explored the dynamics of home, place, and transition. With my current book, Collision, my message is God still heals, but not always as we expect. In spotlighting Jehovah-Rapha, the God who heals, I encourage readers to consult the Great Physician as they work with the medical community. With his uncanny skill in diagnosing spiritual roots of affliction, I hope readers find healing.

How long have you been writing?

Since childhood, with a diary, school essays, and poems.

Tell us about one of your greatest joy(s) in your writing career.

The greatest joy(s) of receiving an acceptance letter from Finishing Line Press for my first poetry manuscript submission; receiving the first hard copy was a childhood dream fulfilled. The ongoing joy of writing and publishing is the power of discovering God and oneself in the process. Then releasing the writing—a vulnerable time—and watching readers, peers, publishers, and gatekeepers react.

Tell us about one of your darkest moment(s) in your writing career.

When I decided to publish a nonfiction narrative and discovered the implications—financial, time, platform, and the unlikely prospect of finding an agent at my age. I felt like all was lost—I’d arrived too late to the game. Because it was an important book to God, me, my audience, and my colleagues, I felt I’d failed.

Rejection is a common experience for writers. How do you overcome rejection? How has rejection shaped you or your career?

I’ve always understood rejection as part of the landscape on the road to publishing. I viewed rejection as a good barometer of my writing, motivating me to improve. Some lessons learned:

  1. Match submissions to a market’s needs. Be a sniper, searching for the right markets for your material before shooting off a submission. 
  2. There are many reasons for a rejection. Don’t take it personally.
  3. Rejection can be God’s way of redirecting your path He has for you.

In what ways has God led you to mentor other writers? Were you surprised when a certain skill or connection led to mentoring opportunities?

The birthing of three new areas of ministry, in the context of missions, converged over the past 20+ years. The timeline:  

  • In the late 90’s: in France, I felt God’s increasing pressure to write for publication. I started with the culture shock poems.
  • Simultaneously, I felt called by God to focus on reaching the artists in my city, including writers. I also began training in spiritual direction. I was as eager to create, write and hang with artists as to persuade Christian artists and writers to consecrate their gifts to God’s kingdom purposes.
  • 2006: repatriated to the US and joined a writer’s group.
  • 2008-14: when I began publishing my first poetry chapbooks, friends, strangers, and colleagues asked me for advice on writing. I enjoyed helping them take baby steps.
  • 2006-2014: The mentoring role developed to the point of training creatives to minister overseas through their art; working with creatives in spiritual direction.
  • In 2015: I took a sabbatical with the goal of writing a nonfiction book. When I returned, I switched roles to “Artist at Large,” with the intention of revising and publishing the nonfiction manuscript. I also had a heavy mentoring role, having trained artists in spiritual direction, based on principles I was now writing about.
  • In 2019: completed a coach-mentoring course, receiving my certificate in 2020.
  • In 2020, with the pandemic, moved mentoring online. Also participated in emerging online writing conferences, where I found a publisher for my second manuscript.
  • June 2022: Collision, How I Found My Life by Accident, my first nonfiction book, released!
  • December 2022, I retired from missions to devote myself full-time to pursue next steps in my writing career.
  • January 2023: I “met” Norma Poore during the Cultivate Christian Creative Symposium, who invited me to interview for this post and here I am!

And all this surprised me and made perfect sense. I’ve observed at conferences and online how popular coach-mentoring was for writers and speakers and saw a potential lane open for me. God wastes nothing and calls us to consider others better than ourselves. One way I can implement that is to consider other writers’ projects and well-being more than my own through writing, mentoring, and spiritual direction.

Tell us about a facet of mentoring that particularly excites you.

When I see that light in the eyes of someone experiencing an insight or breakthrough. I sense God’s presence and witness transformation—pure gold to me. I’m motivated to listen well and ask the right questions to see the eyes light up with understanding!

What venues/methods have you found most effective for meeting and mentoring writers?

  1. Meeting someone over a cup of coffee or tea in a quiet café that affords privacy. It’s neutral, hospitable, and lends itself to conversation, not a clinical encounter. Second best is over the kitchen table.
  2. I usually come with prayer, prepared materials, and a set of questions, depending on whether it’s an intake interview or a follow up meeting.
  3. Prepare spiritually by asking God to lead and release the spiritual gifts necessary for a breakthrough. To give me wisdom, discernment, and patience in listening and speaking.
  4. I’ve worked out of a church office as well, which lends a seriousness and professionalism that helps in some situations.
  5. Mentoring in action, especially for personalities that learn better by doing than talking. Especially in missions, a ride to the airport could be life changing.
  6. Pray with someone so they can experience answers from the Spirit, not look to me as an “expert” or someone with whom they could form an unhealthy attachment.
  7. Online. I converted 😊  I once thought it impossible to practice spiritual direction or mentoring online, until the pandemic forced the issue. I know its limits but it’s effective especially with mentoring on practical levels. Now I thank God for the technology that allows me to mentor artists all over the world, far more than I could do locally.
  8. Using creative expression, which can so quickly unlock the inner movements of our souls. A form of art therapy.

Have you organized or led groups to support writers? (Retreats, ACFW chapters, etc.) How has that experience helped you to mentor writers?

Except for creating a writer’s group in France and occasionally filling in for the facilitator of my writer’s group, no. But for creatives in general, yes. Retreats, devotional times, trainings, workshops, prayer meetings, church meetings with staff and/or members, consulting work. The experiences increased my confidence, joy, and versatility in caring for and mentoring writers and artists.

Have you organized or directed a writers’ conference? Tell us about that experience, and/or share an anecdote that illustrates how you saw writers being mentored and encouraged through the event.

No, but I’ve attended so many, I saw this from the beginning: my first online writers’ conference with Redemption Press (She Writes for Him). I was quite surprised by the very ‘girlie’ approach, with lots of silliness that wasn’t exactly my style, but it was all very upbeat, positive, and encouraging. When the publisher shared her story deeply and vulnerably, I heard the holy “why” of her heart. I decided she was someone I could work with, who would understand my story, and called after the conference to discuss a manuscript. I ended up signing with Redemption Press for the publication of Collision.

If you speak at writers’ groups or conferences, what are some of your favorite topics to speak about?

  • Healing: The Three-Legged Stool
  • Called to Adventure: The Hero’s Journey with Christ
  • The Art of Forgiveness
  • Longing & Babette’s Feast
  • Lament: When your cape is at the cleaners; finding a cape for the chaos; the hot mess hero.
  • The Architecture of Faith: how we need structure to flourish. The Hero’s Journey and Rule of Life.

What advice do you have for writers as we interact with our peers? What can we do to be better supporters and mentors of our fellow writers?

  1. Cultivate the relationships as well as your ideas.
  2. Become better writers, in craft and professionalism.
  3. Join a writer’s group and enter as a learner and a listener. Develop a thick skin.
  4. Attend a writer’s conference or workshop to build relationships and learn.
  5. “Let each consider others better than yourself.” Listening to others before speaking or promoting your projects.

Do you have a favorite resource or two that you recommend to beginning writers?

The Writer’s Journey, 2nd Ed., by Christopher Vogler

Write His Answer: A Bible for Christian Writers, Marlene Bagnull

Do you have a favorite resource or two that you recommend to writers who are struggling with discouragement?

When God Calls a Writer, by Deanne Welsh

What are common mistakes you see aspiring writers make?

  • Focusing on themselves in their fears, anxieties, and comparisons.
  • Ignoring the industry or letting it intimidate them instead of letting God lead them.
  • Divorcing their writing from the larger writing community and industry, forgetting to see people, forgetting God in the process.

What advice can you give aspiring writers that you wished you had gotten, or that you wished you would have heeded?

  1. Invite God to be your writing partner, to reveal what project and goals to set, where to find the finances, and to enable your success as he defines it.
  2. Set up a realistic writing practice and stick to it. Write, read, revise.
  3. Learn the craft of writing by reading, studying other authors, attending/listening to author talks and podcasts, asking questions.
  4. Join a writer’s group, learn the business of publishing as you learn the craft of writing.
  5. Attend a writer’s conference as soon as you can.

Pat Butler, author, poet, and pioneer in missional arts, envisions a world in which every Christ follower finds and flourishes in the abundant life Jesus promised. Pat cultivates a global network of artists through writing, mentoring, and spiritual direction. She has traveled to twenty-five countries, lived in two, and holds dual citizenship. Currently residing in Florida, Pat walks with cranes, dodges hurricanes, and enjoys her own pillow. Follow Pat’s musings at www.mythicmonastery.org. Collision, How I Found My Life by Accident, is available at Redemption Press and Amazon.

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Writers Chat

Writers Chat Recap for January

Writers Chat, hosted by Jean Wise, Johnnie Alexander, and Bethany Jett, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Ten Steps to Integrative Marketing with Bethany Jett

Bethany shares ten integrative marketing strategies for writers. These strategies include marketing ideas for letter campaigns, social media and much more. As writers we should be thinking of marketing from the beginning of our projects. This episode is full of great information to help. Bethany is the co-owner of Serious Writer, Inc. and has recently co-authored two books that have won awards for marketing. Check out this week’s episode and get started on marketing strategies for you WIP.

Watch the January 14th replay.

Contest Savvy: Enter and Win! With Rhonda Dragomir

In this informative episode, Rhonda, the winner of the Serious Writer’s 2019 Writer of the Year contest, shares her secrets for entering and winning contests. Whether you write fiction or nonfiction there are basic things you can do to increase your chances to win contests. Rhonda shares tips like following the contest guidelines, properly formatting your manuscript entry and so much more. With conference and contest season upon us, this episode is a great way to prepare.

Watch the January 21streplay.

Dancing on the Head of a Pen

Writers Chat turned into book chat today as Johnnie Alexander, Bethany Jett, Melissa Stroh, and Jean Wise read their favorite sections of Robert Benson’s book, Dancing on the Head of a Pen. Benson gives great writing advice, uses amazing imagery and light humor to encourage writers at every level. Some of the favorite sections included; his bookshelf with a lamp top that is always lit; his three hats (the artist, the craftsman, and the businessman); and his jury of twelve. This episode is a must see regardless of where you are on your writing journey.

Watch the January 28th replay.

JOIN US!

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET on Zoom. Here’s the permanent Zoom room link. 

Participants mute their audio and video during the filming then we open up the room for anyone who wishes to participate with our guests. The “After Party” is fifteen-minutes of off-the-record sharing and conversation.

Additionally, you can grow your network and add to the conversation by joining our Writers Chat Facebook Group.

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The Intentional Writer

How to Face A Critique

The intentional writer

Does the word critique fill you with dread? It shouldn’t.

I have learned most of what I know about writing by receiving critiques. It started in school, when teachers graded my first early efforts. It continues today every time I seek the input and feedback of others.

All artists need feedback in order to improve their craft. Consider a piano student. Each week she goes to her instructor and receive a lesson, which consists primarily of a critique on whatever skill she is trying to master. The same goes for an athlete and her coach.

Critiques should be welcomed as a writer’s best tool for improvement. Here are some suggestions for making the most of critique sessions.

Tips for facing a critique

  • Attitude is key. Start with a teachable spirit. If you are not open to feedback and willing to learn then there is no point in asking for a critique.
  • Remember a critique is not an attack on you or your worth. It may feel painful, but a good critique will always help you grow rather than tear you down.
  • Think of the person giving the critique as a teammate or coach, not an adversary.
  • Remember, a critique is not a contest. There are no winners or losers. You are not at war and you don’t need to defend yourself.
  • Listen to everything politely and without interrupting. Listening silently does not mean you are being passive, or that you agree with what is said.
  • Expect to learn something. Approach every critique session with the attitude: What can I learn from this discussion?
  • Even if you disagree with a critiquer’s opinions, you can still learn something. For example, you might learn that some readers will not understand a paragraph the way you meant it to be understood. That is valuable feedback.
  • A good critique will cite specific examples of what is being criticized. If examples are not cited, ask for some. Example: “You say my writing is choppy. Can you show me what you mean by that?”
  • When it’s practical, ask the critiquer for suggestions on how to improve. You can learn much from someone who points out a writing weakness and then shows you how to make it better.
  • There are two main kind of information you gain from a critique. A) How well am I mastering my craft? and B) How well am I communicating what I am trying to say? You need feedback in both areas.
  • You do not need to follow all advice you receive in a critique session. Use your best judgment. (If you receive similar feedback from several sources, you should take a good hard look at the issue. If you don’t agree, begin to ask why they think what they do and see if you can get to the root of the problem.)
  • When you consider how much weight to put behind a critique, consider the critiquer’s experience, skill, and familiarity with the genre and today’s publishing realities.

Unfortunately, we have all experienced critiques that did more damage than good. It happens. Here are some suggestions to avoid non-constructive critiques and mitigate the problems they create.

Tips for protecting yourself against malicious or unhelpful critiques.

  • Be suspect of any critique that is 100% praise.
  • Do not expect expert advice from beginning writers.
  • Do not expect good writing advice from those who don’t write and rarely read.
  • Realize that someone who does not enjoy your genre will probably not enjoy your manuscript. This does not mean their critique is unhelpful, but you might need to guide them to look past the genre to specific things. For example, ask them: “Can you picture my setting?” or “Can you follow my main character’s logic?” 
  • Don’t expect a helpful critique from someone with an axe to grind against you or the topic of your manuscript.
  •  Learn who not to ask! When someone rips your writing to shreds, choose not to open yourself up to that pain by asking them again. Like anything in life, we need to keep wise boundaries.

Critiques are important and powerful tools for improving our craft and honing our manuscripts. May you face them with confidence and utilize them wisely.

Award-winning writer Lisa E. Betz believes that everyone has a unique story to tell the world. She loves inspiring fellow writers to be more intentional about developing their craft and courageous in sharing their words. Lisa shares her words through speaking, leading Bible studies, writing historical mysteries, and blogging about living intentionally.

You can find her on Facebook  LisaEBetzWriter Twitter @LisaEBetz and Pinterest Lisa E Betz Intentional Living.

Categories
Grammar and Grace

Choose the Correct Pronoun by Hope Toler Dougherty

Please stop using pronouns wrong!

Between you and I, I’m sick of people using the wrong pronoun. Wrong. Wrong. Wrong!

Don’t invite Kevin and I to a Super Bowl party this year.  Wrong. Wrong. Wrong!

Are you guilty of saying or writing sentences like the previous ones? You are not alone. I hear TV news anchors torture the language with the wrong pronoun. No, you’re not alone, but you are wrong.  You can, however, learn to use pronouns properly.

Here’s a post that explains correct usage:

http://www.almostanauthor.com/choose-correct-pronoun/.

And here’s one more post just in case you need more explanation about pronouns:

What are Pronouns?

You can learn the correct form. I’m sure of it.

Good luck and happy writing!

Hope Toler Dougherty holds a Master’s degree in English and taught at East Carolina University and York Technical College. Her publications include three novels Irish Encounter and Mars…With Venus Rising, and Rescued Hearts as well as nonfiction articles. A member of ACFW, RWA, and SinC, she writes for SeriousWriter.com. She and her husband live in North Carolina and enjoy visits with their two daughters and twin sons.

Author of Rescued Hearts
               Irish Encounter
              Mars…With Venus Rising
Visit Hope at www.hopetolerdougherty.com
Categories
Dear Young Scribes

Balancing the Elements of Fiction – Part 1

Have you ever noticed how some authors tend to focus too much on writing certain fiction elements, yet ignore the others? Maybe their writing sounds a little like this…

Dialogue
Action beat
Dialogue
Action beat
Dialogue
Action beat

And on and on. Or perhaps the author writes far too much description and internal monologue and not enough dialogue or action. This becomes easily distracting, don’t you think? This is why we need to be careful that we aren’t making the same mistake in our own writing.

The elements of fiction include the following: description, dialogue, exposition, action beats, & interior monologue. Fiction writers should study and master each of these elements separately if they wish to deliver a story in novel format. However, the placement of these elements is vital. The elements need to be braided together throughout each scene and flow naturally so the scene becomes 4D to the reader. It’s a writer’s job to understand how to balance these elements in a way that keeps the pace of the story moving along.

Let’s think about this in movie format. Pretend as though you’re watching a film. If the camera focused on the scenery of the setting rather than the dialogue, I doubt you’d be intrigued enough to continue watching the movie. On the other hand, if the scenes focused on back-and-forth dialogue, don’t you think that’d feel restricting? Each element of the story must work together in order to portray the full spectrum.

If we can establish this in our fiction novels, then we will master the art of crafting a story that immerses our readers and brings them into a “fictive dream”. They’ll feel almost as though the story is happening to themselves rather than to the characters.

This is a balancing act, one that every fiction writer must strive to achieve in their stories. If we give too much emphasis on exposition and description, then dialogue, interior monologue, and beats will be neglected. So how can we balance the elements of fiction?

First, we must understand the definition and role of each element. We’ll discuss this in the next post of this series.

Which of these elements do you tend to give too much attention to in your own writing?

[bctt tweet=”Balancing the Elements of Fiction – Part 1 #writingtips @TessaEmilyHall” username=””]

Image Credit: My Gre Exam Preparation

Categories
Dear Young Scribes

What’s Wrong With Adjectives & Adverbs?

When I was in elementary school, I was taught to incorporate as many adjectives and adverbs into my stories as possible.

 

My writing sounded like this:

The big, fat, yellow sun shined brightly against the light blue sky.

Colorful, isn’t it? And yet, sometimes those colors are the very things that distract the reader from the story. Literary agent, Sally Apokedak, puts it this way: “…too much description makes the colors all bleed together.”

Nowadays, adjectives and adverbs are considered to be lazy writing. They tend to tell the action, emotion, scenery, etc. instead of allowing the reader to experience it for themselves.

But didn’t books use adverbs and adjectives in the old days?

Yes. But we’re not still making black and white movies anymore, are we? We’ve improved our technology and have discovered new—better—ways of capturing film.

Same with books. We’ve discovered ways to write that invite the reader to delve deeper into the story. We want them to not only read about what the character sees; we want them to see it for themselves. We don’t want them to only read about what the character feels; we want them to hear it for themselves.

Overusing adverbs and adjectives is a form of telling rather than showing.

How to Fix This

Replace adverbs and adjectives with strong verbs and concrete nouns. This will help the reader picture the scene for themselves rather than be told how to picture it. Choose specific nouns and strong verbs that will convey the certain emotion that you want the reader to experience.

For example:

She ran quickly up the stairs.

Replace with a strong verb, such as:

She hurried up the stairs.

She rushed up the stairs.

The adverb isn’t necessary in those sentences. Plus, the verbs convey a much stronger sense of action, don’t you think?

Here’s another example:

The living room was dark and dreary. The long, draping curtains hung over the windows, blocking sunlight from shining brightly into the room.

 

By replacing the above adjectives with specific nouns, the phrase can be rewritten to the following:

The living room resembled a cave with its dim lighting. Even the pinch pleat curtains that draped over the windows were closed, as if it were a sin to let the sunlight stream into the room.

Should all adverbs and adjectives be deleted?

Not all of them. But nowadays, agents and publishers do not want adjectives and adverbs to slow down the pace of a story. And neither do the readers. Thanks to TV, movies, snapchats, and 3-minute YouTube videos, the attention span of the average reader has decreased a significant amount over the last couple of decades.

Although it is okay to use adjectives sparingly (adverb not intended!), try to find a way to find concrete nouns and verbs to describe the object without relying on an adjective to do the job.

Here’s another example:

The drink was hot.

Rather than telling the reader how the drink felt, use the effect it has on a character through using the senses—that way, the reader can experience it for themselves.

You can replace the above sentence with:

The drink burned my tongue.

Through the strong verb burned, we know that the drink must have been hot. The reader comes to that conclusion themselves. Not only that, but we can feel the burn on our own tongue since we have probably experienced a similar situation ourselves.

Conclusion

Too many adjectives and adverbs get in the way of the flow of the story. The reader can easily forget where the story was headed when the author tries to describe too many objects/places/people in detail.

Ask yourself: Is it important that the reader knows what color my character’s shoes are? Is it important to the story or the mood/emotion of this scene to show that the walls are gray? If not, leave the object blank. Readers love to use their own imagination and choose a color for themselves. Then, highlight on the specific and unique details that are significant to the story, characterization, mood/theme/emotion, or setting development.

The overuse of adjectives and adverbs is a common mistake that beginning writers make, and most agents and publishers cringe when they spot this.

Again, it’s okay to use sparingly. Adjectives tend to be more accepted than adverbs—just make sure that the adjectives are spread out and not clumped together within a sentence or paragraph.

Remember: When it comes to adverbs and adjectives, less is always more.

When you do decide to leave an adjective or adverb, be careful with where it is placed and how it’s used. Try your best to see if there is any other way you can describe the object, character, or setting.

If you have no choice but to keep it, then read over the page and make sure that the story continues to move along at a good pace. Make sure that the description is woven into the story and not the other way around.

How do you rewrite adjectives and adverbs in your manuscript?

[bctt tweet=”What’s Wrong With Adjectives & Adverbs? @TessaEmilyHall #writingtips #writingcraft ” username=””]

Categories
Write Justified

The Times They Are A-Changin’

As languages go, English is fairly young. It’s been about 1400 years since the Anglo-Saxons imported English into Great Britain. And the struggle to adapt continues because language is dynamic. The English language continues to adjust to changes in word usage and new words that make their way into the vernacular. Just this year, Merriam-Webster added 1000 new words to its dictionary.

It’s our job as writers and editors to keep abreast of such changes and accepted usages. While we may not adapt every new coinage, we need to know what is acceptable usage in the publishing world—thanks to authorities like Merriam-Webster and the Chicago Manual of Style (CMoS). With the 17th edition of CMoS due out in September, here’s a heads up on three changes that are likely to have the greatest impact on your writing/editing.

  • E-mail will become email—no hyphen. This is a progression that many additions to the language make—moving from a hyphenated to closed compound. While some style guides have been rendering email as closed for some time already, when CMoS does so, it’s official.
  • Internet becomes internet—lower cased.
  • Singular they is acceptable in some cases. Although the pronoun they usually refers to a plural antecedent, CMoS acknowledges it can also refer to a singular antecedent. In cases where the gender of the antecedent is not known, the singular they is acceptable, rather than the generic he or the cumbersome he/she. Truth is, this is the way most of us speak. So, in informal writing the following is permitted:

Whoever ratted out the thieves should get an award for their honesty.

Who wants cheese on their burger?

              Keep in mind that singular they, like singular you is treated as a grammatical plural and takes a plural verb:

They have seven PhDs among them.

Their degrees are in the sciences.

Never let anyone tell you English is a staid language. Sometimes, it’s all an editor can do to keep up with the changes.

Categories
Write Justified

Is that a Question? Or Not?

 

This may seem hard to believe, but[bctt tweet=” … not every question requires a question mark” username=””.]

How often don’t you ask a rhetorical question. One that you really don’t expect an answer to. (Like the first sentence in this paragraph.)

So when does a question need a question mark?

When you expect an answer.

Direct questions—the kind journalists ask to get a story—demand an answer. We call them the 5 (or 6) Ws: who, what, when, where, why and how.

What happened? Who was involved? When did it happen? Where? Why? How? Direct questions almost always begin with some variation of the 5 W’s. If one of them isn’t the first word in the sentence, it’s probably in there some place, like: “Well, just what are you doing in there?” or “Just who do you think you are?”

Sentences that begin with a being verb like are, is, were and the like also indicate a direction question.

Are you alone?

Do you love me?

Is this the best you can do?

All these questions demand an answer and a question mark.

Sometimes we pose indirect questions—questions that we really don’t expect an answer to.

They may be questions you’re posing to yourself:

Now, why did I come in here? (Then again, you may be looking for that answer.)

They may be relating something in the past tense:

I asked her what the problem was.

They may be rhetorical questions, like–
What’s up with that.

No one really expects an answer to a question like that. And neither do these indirect questions require question marks.

Got it?

Categories
Grammar and Grace

Let’s Talk About Verbs

Last time, I introduced the eight parts of speech. This time, we’ll focus on verbs.

I’m beginning with the verb because to be a complete sentence and not just a phrase or a fragment, a group of words has to have a verb. A verb is the action part of the sentence or the part that talks about being.

I am. That’s a sentence.

Steelers won. That’s a sentence, too. Of course, a better, more descriptive sentence might be something like—The fantastic Pittsburgh Steelers shut out the stinkin’ New England Patriots and won the Super Bowl.

To understand verbs, we must understand more than just the definition that a verb is a word that describes a state of action or being.

Agreement—A verb must agree with its subject. We’ll discuss this idea more in later posts once I introduce nouns.

Tenses—A verb tense tells the time of the action. To keep things simple, we’ll discuss past, present, and future tenses.

Present—I enjoy avocado on toast.

Past—I enjoyed avocado on toast yesterday.

Future—I will eat avocado on toast tomorrow.

Notice that the spelling of the verb changes for the past tense. Usually, adding the suffix -ed to a verb makes it past tense. For the future tense, I added a helping verb will.

Linking verbs—These verbs join a subject to its complement. Common linking verbs are be, am, is, are, was, were, been, being—forms of the verb to be. Verbs of the senses are also linking verbs—feel, smell, sound, look, seem, and taste.

Her voice sounded shrill. (Sounded links voice to shrill.)

She is the Olympic swimmer. (Is links she to swimmer.)

Helping verbs—These verbs are also called auxiliary verbs. They help form proper tenses. Common helping verses include the linking verbs as well as have, has, had, shall, will, may might, can, would, should, could, must, and ought.

Beth has invited several people to the Parade of Tables, but only two have accepted.

Irregular verbs—These verbs do not take an addition of the suffix -ed to form the simple past tense. Some irregular verbs include the following: eat/ate/eaten, see/saw/seen, come/came/come, drink/drank/drunk, drive/drove/driven.

This post is an attempt to remind readers about the function of verbs. Understanding the function will help make your writing clear, correct, and concise.

Do you have questions about verbs?

Happy writing!

Categories
Storyworld

Anatomy of Grays: Sex

AnatomyGraysSex

Jim held a gray spheroid up to the light. “So Doc, you’re saying the sex of this alien was actually female?”

“That is perhaps an overstatement. This is clearly an egg we retrieved from the deceased Sharalla pilot. While this may indicate a female of the species, their biology is unlike anything we’ve encountered. For all we know, the males carry the fertilized eggs, as in some of Earth’s aquatic wildlife.”

Jim lowered the egg, which had the size, heft, and texture of a softball. “You’re not saying this thing is fertilized are you?”

The doctor shook his head. “Our scientific team has concluded it most certainly is not. We wouldn’t let you handle it otherwise.”

The little rock wiggled itself in Jim’s hand, producing a breathless stare from Doctor Stein.

“Ahh,” Jim sighed in mock contentment, “ the certainty of science.”

 

What better way to spend the day before Valentine’s than talking about alien sex and reproduction? Seriously though, the method of reproduction in an alien species dictates much of its culture, so it bears at least some consideration in your storyworld.

Assuming your creatures have some form of sex to reproduce (and don’t just materialize or breed asexually), you’ll need to figure out how they do it. Generally, it will involve some form of fertilization, the method in which sex cells, containing half the genetic composition of each parent, unite to form a new, unique member of the species. This is broadly separated into two categories: external fertilization and internal fertilization.

External Fertilization

External fertilization is a form of sex that is mostly reserved to earth’s fish. While from our view, this seems impersonal, it doesn’t have to be. Granted, there doesn’t seem to be much intimacy between two fish, but there is sometimes a loyalty to the young. The male Siamese Fighting Fish will tirelessly guard over its eggs, ensuring they remain in a nest of bubbles until they hatch. Male seahorses will care for their fertilized eggs in a special pouch. Cichlids are fish that keep their eggs in their mouths, and continued to do so until they’ve not only hatched, but are old enough to fend for themselves.

If you introduce a sentient (and somewhat relatable) alien species with external fertilization, it would probably be best to model it after one of these more maternal or paternal species on earth. That is, unless you’re trying to create a heartless society of extraterrestrials. In that case, spawning massive numbers of progeny at random might fit better.

Internal Fertilization

This is the section that might get me fired from my position at A3. I’m kidding, I’m kidding – you can’t fire someone who works for free … I think. Anyway, internal fertilization is when male sex cells enter the female’s body and find the female sex cell(s). They combine and form a new life, starting as a zygote and eventually either hatching into the world, or emerging via the birth canal.

Which brings up the next distinction, whether or not the animal lays an egg or cares for the embryo in an internal placenta. Some examples of egg-laying creatures on earth are reptiles and birds. If your alien species lays an egg, you’ll have to decide the level of involvement you want the parents to have in guarding that egg. Some birds like the hornbill are very protective of their eggs. So much so that the female blocks herself off in a tree hole and entirely depends on her mate to bring her food. Others, like sea turtles, bury their eggs in the sand and then leave, hoping for the best (there may be a reason they’re so endangered). Rattlesnakes are odd egg layers though, since they don’t really lay eggs, but keep the eggs internally until they hatch. While that may sound like a live birth, the eggs are still self-sustaining, meaning no nutrients pass from mother to child.

And that’s actually one of the distinguishing features of sex and reproduction in a mammal – the placenta. When a mammal baby develops in the womb, it receives nutrients from its mother until ready for birth. Even then, female mammals provide milk for their young with their mammary glands (breasts in humans, udders in cows and pigs, etc.).

Sex Between Species

While forbidden in Leviticus 19, sex between two different species occasionally produces a hybrid creature. Probably most well known is the mule, a cross between a donkey and a horse. Additionally, ligers are crosses between tigers and lions, and according to liger scholar and artist Napoleon Dynamite, they’re bred for their skills in magic. There are a lot of different hybrids out there, including zonkeys , dzos, and other strange creatures. Usually the two parents need a similar number of chromosomes, and even then the result is typically a sterile creature. Sometimes though, intentionally breeding two species results in a very, very bad hybrid, such as the killer bee. Yes, thank science for producing a species of insect capable of killing thousands of humans and livestock … and then accidentally releasing them from quarantine -whoops.

Sometimes in sci-fi and fantasy literature you’ll see a hybrid race. The most obvious that comes to my mind is the Half-Elf. Born of human and elven parentage, these half-races display characteristics of each. But in a sci-fi or fantasy world, you can’t assume that every alien species can intermingle with every other. In Michael A. Stackpole’s X-Wing series, one of his protagonists humorously recounts a bad memory of having sex with an alien. The two hadn’t considered the delicate pH balance in that… region. And as a result, both partners developed severe rashes and some other, ahem, unpleasant side effects.

Sex and Culture

As I said in my intro, sex (and marriage) is a huge factor that dictates how a culture operates. How do two individuals in a species find a mate? How do they produce offspring? How do they care for their offspring? Is there sexual deviancy and abuse? While these are all major questions that deserve an entire column this column has mostly addressed biology. Fear not though, I will address them in the future. So if this article interests you, be on the watch for my sex and worldbuilding article in the next few months.

There, I made it through an entire column dedicated to sex without once mentioning the words vagina or penis. Oh! Darn. Well, almost.

Next month we’ll continue our anatomy series and tackle the neuroendocrine system! Yeah, that’s basically just a fancy word for evaluating how an alien thinks and feels.

 

Photo Credits:

Birds and Bees Photo: http://www.evilenglish.net/the-birds-and-the-bees/

 

Siamese Fighting Fish Photo (Also great resource regarding these cool fish): http://dkphoto.photoshelter.com/gallery-image/Siamese-Fighting-Fish-Life-Cycle/G0000_kRdp2qXrtk/I0000qlzVaRnV4Qw/C0000NHUtq8T1jVw

 

Napoleon Dynamite Inspired Liger Drawing: https://www.flickr.com/photos/51035597721@N01/5266903

Categories
Dear Young Scribes

The Writer’s Palette: How to Write Concise Description to Liven Your Scenes

As writers, we have the power to tear down the boundaries of paper and ink when we craft a description that triggers the imagination of our readers. That’s the power of writing a concise description.

I’m sure you’ve heard it’s best to limit your descriptions. Pretty prose does not equal a pretty story, and ultimately it’s your characters and plot that will push the story along.

So how can you write scenes in a way that accomplishes the job of description — to bring the story to life — without interrupting the flow?

Writing this kind of description is much harder than writing flowery prose that goes on forever — prose that most readers will skim. Instead, writing concise description will enable your scene to become 3D.

And you can do this without having to hit the “pause button” on your scene.

When I wrote my latest novel, UNWRITTEN MELODY, I tried a new technique. I created a “writer’s palette” before each scene I wrote. (This idea came from Susan May Warren’s Book Therapy tools, although she refers to it as a “scene sketch”.)

This writer’s palette is similar to an artist’s palette. Before an artist begins working, they mix their paints to create the colors they want to display on their masterpiece. These paints are arranged on their board. That way, while they paint, they can dip their paintbrush in their assortment of colors and apply it to their canvas. They don’t have to create the colored paint as they work; rather, it’s already prepared beforehand.

Similarly, a writer’s palette is our own assortment of “colors” that we can use to paint our scenes, and we can prepare this before we even put our pen to the page.

Here’s how you can do this:

(Again, I learned how to create a scene sketch through instruction at My Book Therapy.)

             1) Ask yourself, what scene do I want to paint?

Place yourself in an artist’s shoes. A blank canvas stands before you; what scene do you want to paint?

Close your eyes and envision the scene you’re going to write. Let it come to life in your imagination before you try to transcribe it onto the page.

What emotion/mood do you want to portray through this scene?

Now, open your writer’s palette. (This can be a page in your notebook or a new document in Word. While I wrote UNWRITTEN MELODY, I used the “Document Notes” tool in Scrivener to create these scene sketches.)

On this palette, answer the following questions about your scene:

  • Where? Why? Who? When? What? How?
  • What emotion/mood do I want to establish in this scene?

             2) Prepare your paints. What colors do you need to gather and mix?

Pretend you’re the POV character and you’re observing the surroundings through the lens of his/her perspective, worldview, personality, and attitude. What details does he/she notice? What descriptive hues do you need to combine so you can achieve the scene’s specific emotion/mood?

In your writer’s palette, prepare these details:

  • What does your character see? Hear? Touch? Taste? Smell?
  • What is your POV character’s attitude and view of his/her surroundings?
  • How do these sensory details emphasize the emotion of the scene?
  • Is there a metaphor/symbolism you can use to highlight this emotion?

             3) Record the details by choosing specific nouns and active verbs. In other words, gather your props.

While the scene is still in your imagination and you’re viewing it through the lens of your character, write down the scene’s details (keeping the emotion in mind as well). You’ll gather an array of details that you can potentially use as you write the scene.

But instead of writing “candles were lit and burning on the coffee table”, record the specific type of candle and its scent. And instead of writing, “long, draping curtains hung over the windows”, you can use its specific noun, such as, “pinch pleat curtains draped over the windows”.

~ ~ ~

By preparing your writer’s palette beforehand, you’re more likely to write a scene that becomes 3D in your reader’s imagination. You’ll know which details to incorporate (the ones that highlight the mood and POV character’s perspective) and which ones would only get in the way of the story. Your description will ring as authentic, and you may even convince your reader that you have lived through the specific time and place.

If you’d like to see an example of how I used a writer’s palette to write a certain scene in UNWRITTEN MELODY, click here for the scene excerpt and here for the writer’s palette.

~ ~ ~

How do you write description in your scenes? Do you create a writer’s palette or scene sketch to gather your “paints” before you begin to write?

[bctt tweet=”The Writer’s Palette: How to Write Concise Description to Liven Your Scenes #amwriting @TessaEmilyHall” username=””]

Categories
Fantasy-Sci-Fi Storyworld

World-building From the Eyes of a Character

Character Eyes

The carbine was still jammed and Jim couldn’t do anything to fix it. He finally tossed it aside and cursed the shoddy Adronni weapon manufacturers – maybe their world would be next on the alien invasion tour. A shrill whine filled the air, and Jim pressed himself tighter against the debris-covered groundcar. A scant thirty feet away the earth erupted in blue smoke. As the remains of a prefab shelter rained harmlessly over his powersuit, Jim took inventory. A Gilgamesh repeater pistol, a single frag, and a suit of armor with a busted rebreather. As long as the reptilians didn’t gas him first, he’d probably live long enough for one of their walker units to plasma-blast him in the chest. He sighed. No, there was one last thing he possessed – the souls of his charred comrades pushing him on to avenge them. Jim unholstered the pistol and peered around the corner. Time to move – vengeance would be his!

On the surface, the above paragraph looks like an action scene. It’s dripping with tension, and Jim’s fate looks pretty bleak. But even an action-packed paragraph can be used to build your world. In fact, study it a minute and try to identify some of the foreign storyworld elements.

We’re not sure what kind of weaponry Jim has (laser? projectile?), but his attackers clearly have plasma weapons that explode in puffs of blue gas. And we can guess based on the grisly state of his allies that either the plasma weapons burned them alive or that the aliens have some other kind of burning weapon.

Let’s look at some of the subtler elements though. Take the use of the word “groundcar.” What is the implication there? Obviously a “groundcar” is a type of vehicle distinguished from some other type. An aircar? A hover car? We don’t know specifics, but use of that word reveals that methods other than ground-based vehicles are used for transportation in this world.

We also get a glimpse into the intergalactic relations. First of all, these reptilians are not only invading Jim’s planet but have apparently been on “tour,” invading many planets. We don’t know if “Adronni” is a company or a race of aliens, but we do know that either Jim or his military outfit purchased firearms from otherworldly suppliers. This establishes that the storyworld has interplanetary trade.

All of this could be done from a detached, third-person omniscient perspective, but the story is told from a deep, although third-person, POV. This not only conveys the gobs of storyworld information above, but it also does two other things: 1) it gives the action emotional impact. Sure, the battle scene is only a paragraph long, but you’re emotionally involved in the character. It inspires you to read onward and learn Jim’s fate, even as your imagination processes the alien elements. And 2) the world is shown with Jim’s particular biases. A comment like “shoddy Adronni weapon manufacturers” shows us Jim has preferences in firearms and the Adronni-supplied weapons are apparently not among them. This doesn’t mean his preferences are necessarily right, and a different character’s POV may reveal a different perspective on the carbine and its manufacturer. Your storyworld’s inhabitants, like those in the real world, won’t always agree on things.

This isn’t to say that every paragraph in your 90,000-word manuscript must be packed with exotic storyworld elements, but the first few chapters should do so as much as possible. And if you’re trying to get your audience attached to your characters in that same timeframe, doing so from a close, ground-level perspective can really help.

mhi1-posterLast year, my favorite novel was Monster Hunter International written by Larry Correia. A contemporary fantasy novel like this doesn’t need as much storyworld explanation as a distant-future sci-fi novel, but the author does equally amazing jobs at world-building and deep character exploration. I’ve also just started Marc Turner’s When the Heavens Fall, an epic novel with some well-developed fantasy elements and several great POVs. A final verdict will have to wait since I haven’t finished it yet, but thus far it’s a great read and exemplifies some of what we’ve discussed here.

That’s all for now. Next month we’ll kick off a series on alien and fantastic biology. Until then, let me know if there are any other storyworld elements you’d like me to explore in this space. Thanks for reading!

Categories
Dear Young Scribes

What is Deep POV, and why is It Important?

Have you ever tried to tell your friends about an experience you had, but they didn’t give you the response you hoped for? Maybe they didn’t laugh when you gave the punchline of the story. You then tried to cover up your shame by saying, “You just had to be there.”

 

If we write our books in a shallow POV rather than in deep POV, we risk that same “cricket chirping” response from our audience. We’re narrating a story that could come across as much more powerful if we chose to instead invite the reader to experience it.

 

Deep POV is a way of showing rather than telling. It’s a writing technique that has grown in popularity over the past couple decades or so. When we write in deep POV, we’re giving our readers the opportunity to step into our protagonist’s shoes. They’ll walk through the pages of the story as if they themselves were the character.

 

If we can accomplish this, the setting will come to life. The journey that the protagonist takes will have more of an impact on the reader. Why? Because the reader wasn’t simply told about an experience our character had; they journeyed along with them.

 

Readers today–especially fans of YA fiction–search for these stories. They long to open a book and become transported into a different time and place. They want to forget about their surroundings, and even forget that they’re reading a book. They’re searching for stories that sweep them off their feet in an entertaining, thrilling, and emotional rollercoaster.

 

How can we, as authors, offer this kind of reading experience to our readers?

 

Avoid all traces of authorship. Resist the urge to tell the story. Engage all five senses. And when you write, step through the scene as if you are the character. This means you can only show the scene through their eyes. Everything must be filtered through your protagonist’s POV.

 

Here’s an example:

 

NOT Deep POV: Anna saw the bouquet of roses on the dining room table and smelled their sweet scent. Who brought these? she wondered.

 

Deep POV: Anna stepped into the kitchen, overtaken by a floral aroma. Where did that come from? The scent grew stronger as she peered into the dining room. A smile slid onto her lips. There it was. A bouquet of roses, tucked into a glass vase at the center of the table. Where could that have come from?

 

Notice how deep POV requires more words. If we want to offer this experience to our readers, it will require more work. Showing a scene almost always requires more words. But the payoff is worth it.

 

In the example that isn’t written in deep POV, the words “saw”, “smelled”, and “wondered” brings the reader out of Anna’s POV. It tells the audience what happened, yes—but it does so in a narrative form.

 

This is the difference between telling a friend about a scene from a movie and letting them watch it for themself.  

 

When writing in shallow POV, we risk the scene from coming to life in the reader’s imagination. We risk not giving our readers the opportunity to build a strong connection with our protagonist.

 

You might say, “Books weren’t always written in deep POV, yet people still enjoyed them. Why can’t I write my book in shallow POV, too?”

 

Think of it this way: Movies weren’t always filmed in color. Yet, the use of color in today’s films brings scenes to life. It provides an even deeper sense of realism and escapism. Why use tools of the past when we’ve been given far more powerful tools to tell our story?

 

If you want your book to resonate with today’s reader, and if you want to sell your book to an agent/publisher, I recommend utilizing this deep POV writing technique. Most agents and publishers today will reject or ask for a revision if a manuscript is written in shallow POV.

 

No, this isn’t an easy task to accomplish. It requires far more work. But you’re painting color to a black-and-white story. You’re adding “scratch and sniff” pages to your book. The result? Your readers will be brought deeper into the heart, mind, and emotions of your POV character.

 

The motivations of your protagonist will become more clear. The character ARC, more realistic. And when your protagonist reaches his/her “epiphany moment” at the end of the story, so will your reader. Thus, the theme of your story will have far more impact to your readers than if it were written in shallow POV.

 

So if you can accomplish this—if you write your story in deep POV—you won’t have to risk the “cricket chirping” response. You won’t have to tell your readers, “You just had to be there.”

 

Because they were there. They lived it. You wrote a book that entertained, provided escapism, tapped into emotions.

 

And as writers, shouldn’t that be our ultimate goal of storytelling anyway?

 

 

What’s your opinion of deep POV? Have you tried to write a story that utilizes this technique? Share your thoughts in the comments!

 

[bctt tweet=”What is Deep POV, and why is It Important? @TessaEmilyHall #amwriting #writerslife” via=”no”]

Categories
Dear Young Scribes

How to Choose, Develop, & Research a Setting: Part 2

Once you’ve chosen the setting of your book—which we discussed in Part 1 of this series—it’s important to spend time researching the setting so you can portray this location accurately.

 

Here’s how you can research your setting:

 

  •  Take a research trip to your setting (if feasible).
  •  Watch YouTube videos. Many times, people will 
give a “virtual tour” of a certain city. As you watch, pay close attention to the sights and sounds of the place.
  •  Research the location and its history through various online resources. (Keep in mind, however, that some websites, such as Wikipedia, may not provide 100% accurate information and should not considered a reliable source.)
  •  Read books about the location, including memoirs.
  •  Read the online newspaper of the location.
  •  Discover pictures of the place via Pinterest. (Make 
sure to pin them to your storyboard as well!)
  •  Interview people who have a connection to the location.
  •  Research the city through www.areavibes.com. This 
website allows you to explore a location and discover its amenities, housing and neighborhoods, population, economics, crime, weather, etc. It will even compare these results with another location as well.
  •  Take advantage of Google Earth and its street view feature.

 

The same amount of work must be applied to settings that are invented as well. Obviously, you can’t research the setting—but by using the above and below checklists, you can brainstorm specific location details. (If you do this, you might even be able to trick your readers into believing that your setting is an actual place!)

 

When you research/invent your setting, I recommend recording the info in an online file or notebook. As you do, take note of the following:

 

  • What unique elements does the place have that contribute toward its personality? Are there rolling hills? Willow trees that form a canopy over a certain street? Farm animals held behind fences?
  • How do people speak? What is their dialect and popular slang?
  • Where is the place located geographically?
  • What is the climate in every season?
  • What is the history of the location, and how has it shaped 
the setting into what it is today?
  • What is the most popular religion? (For instance, is it 
located in the Bible belt?)
  • What are the socioeconomics?
  • What is the atmosphere? Is it a laid back town in the 
south, where people are accustomed to a slow-­paced lifestyle, or does it take place within the hustle and bustle of NYC?
  • What are the popular fashion and hairstyles?
  • Where people shop for food, coffee, groceries, clothes, ice 
cream, etc.?
  • What are the significant landmarks and parks?
  • Where do the teenagers hangout?
  • What kind of animals can be found in the location? 
Plants? Insects?
  • If it’s a small town, what big city is it located near?
  • What are the popular street names?

 

As you research, you will collect facts about this location; however, when you write your story, these facts must be filtered through the eyes of your POV character. Everyone is going to have a unique attitude toward a specific location. This attitude is influenced by a number of factors: the person’s personal experiences, memories, personality, worldview, etc. Their perception of this setting is also a great tool to contribute to the book/scene’s particular mood/emotion.

 

For example, the following excerpt is the first page of my YA novel, PURPLE MOON:

            “Why couldn’t you just leave me alone in our apartment for the summer, Mom? I’m sixteen. I’m responsible. Mostly mature.”

            Our Camry swerves as we turn into Lakeview Estates. Three-­‐‑story homes span the landscaping that stretches for acres then tucks into the bordering lake.

            Families visit here every year for summer vacation. The majestic mountain peaks that outline the water of Lake Lure offer a refuge of seclusion to escape the stress of hectic lifestyles. No words describe the beauty of this place.

            Yet I shut my eyes and sink further into the seat, trying to wish myself away. Somewhere else. Maybe to the fairy tale land that I used to imagine when I was a kid. I would even welcome the idea of turning around and driving all the way back to Brooklyn.

            Anywhere but here.
”

(c) Purple Moon by Tessa Emily Hall – 2013 – Published by Lighthouse Publishing of the Carolinas

 

Based on that excerpt, what would you say is the attitude that my protagonist, Selena, has toward the setting?

 

The fact about the setting, which is included in this excerpt, is that Lake Lure is a beautiful tourist location. But it’s clear that Selena is not happy to be there. She portrays this not only through internal monologue, but through her body language as well (sinking into her seat and closing her eyes).

 

Later, Selena reacts to the thick humidity of Lake Lure by mentioning how she should have brought more summer clothes. Why wasn’t she prepared for the hot weather? Probably because she was accustomed to living in Brooklyn, NY, which is a much cooler climate than Lake Lure, even in the summer.

 

Do you see how one’s memories, personality, and background all come into play when describing the setting of a novel?

 

 “I wouldn’t have thought a simple sketch of a lake could have so many emotional strings attached to it. But it does. For me, at least.” ~Selena from PURPLE MOON

 

So ask yourself: How does my protagonist connect to the setting? You can brainstorm this by asking the following questions:

 

  • What are her significant memories of certain areas of the location? What are the sights, sounds, smells, etc. that remind her of these memories, and what is her attitude toward them?
  • Is this her birthplace? If not, when did she move there, and how does it compare with the other places she has lived?
  • How has this location influenced her personality and worldview?
  • Where does your character go during her free time?
  • What street does she live on?
  • What kind of house does she live in?
  • Where does her family fall on the socioeconomics scale?

 

Remember:

 

The setting of a story should be treated as if it were another character, so make sure to research it beforehand.

Then, when you begin to write, highlight on the specific details that will breathe life into your setting. However, make sure that this is presented through the eyes of your POV (Point of View) character.

Through proper developing and portraying your setting, you will give your readers the opportunity to become transported into the story’s location . . . and they’ll never once have to leave the comfort of their own home. 😉

 

 

[bctt tweet=”How to Choose, Develop, & Research a Setting: Part 2 #amwriting #writingtips” username=”tessaemilyhall”]

 

Do you prefer to invent a location, or choose an already-existing one? What’s your favorite part about researching the setting? Let me know in the comments!

Categories
Dear Young Scribes

How to Choose, Develop, & Research a Setting: Part 1

Setting is far more than the backdrop of a novel. It’s the environment that breathes life into a story. It can paint hues of emotion, provide necessary backstory, enhance characterization, and serve as a tool to unfold significant plot elements.

When a writer prepares to write a book, they should spend just as much time researching and developing a setting as they do with their characters. In fact, setting should be treated with much attention as if it were a character in itself.

Think of your favorite book. How would the plot differ if it were set in the snow-capped mountains of Colorado? Or in a dry desert of New Mexico?

When a writer accurately portrays a believable setting for their novel, the reader becomes sucked into the story. This should be done in a way so that the story would not be the same if it were set in another location.

For example: The setting is a crucial element in the movie The Titanic. It would be impossible to set that story in another location; the entire plot would unravel.

Readers fall in love with books that present well-developed settings and story worlds. What would The Chronicles of Narnia be without Narnia? Or Anne of Green Gables without Green Gables?

When choosing a setting, ask yourself:

  •  What is the mood and theme of this story? What kind of location—a small town, big city, etc.—would best portray this?
  •  How will the setting affect the plot of the story?
  •  Will I use a real town or invent one?
  •  What cities—including my hometown— am I familiar with? Out of those, which one am I most passionate about?
  •  How can I weave symbolism into this setting?
  •  How does the setting influence my protagonist? What is his/her attitude toward this location? 
(This is a great way to unravel backstory — through showing the memories tied to her surroundings.)

blue ridge mountains

I chose Lake Lure, NC for the setting of Purple Moon for the following reasons:

  1.  I realized I had yet to read a YA novel that was set in the Blue Ridge mountains of North Carolina.
  2.  I knew I wanted to set the story in the south since I am from SC.
  3.  I came across a photograph of the mountains outlining a lake. This inspired me to do a Google search of lakes in North Carolina.
  4.  After I found a list, I chose Lake Lure because the name reflected a theme in the novel.
  5.  Since my protagonist is an artist, the mountains tucked into the lake keeps her inspired and reflects her personality.

If you want your readers to become swept away in your story, it’s crucial that you spend necessary time researching your setting before you begin to write.

It’s important to research your setting for the following reasons:

  • Believability
  •  Accuracy
  •  So your readers can feel as if they have stepped into 
the pages of your book. You want to give them the sense 
that they are living in the story.
  •  To prevent your story from unfolding in front of a “closed 
curtain”.

In the next post, we’ll discuss how to go about researching your setting and how to filter it through the eyes of your protagonist.

[bctt tweet=”How to Choose, Develop, & Research a Setting: Part 1 via @TessaEmilyHall #write” username=””]

What is your favorite story setting? How does it enhance the plot, theme, mood, and protagonist of the novel?

Categories
Dear Young Scribes

10 Tips for Reading Through the Eyes of a Writer

Book and glasses

For most writers, our passion to write was birthed from a passion to read. We grew up immersed in books. Books that touched us, entertained us, made us laugh and cry. And somewhere along the way, we discovered that we, too, wanted to create the same effect for readers through our own stories.

As writers, it’s only natural that we should want to learn from the masters. We should not only read for enjoyment, but for education as well.

Sure, there are plenty books on the writing craft that can give us instruction. I’m not against this at all. But personally, the best way I learned how to write was from reading books through the eyes of a writer.

How is this done?

Here are 10 tips for reading through the eyes of a writer:

        1. Study the plot as it unravels. When would you assume Act 1 ends and Act 2 begins? Can you identify the character’s external and internal goals at the beginning of the book? What is the conflict and unanswered questions that the author has set up? How is the backstory woven in without interrupting the story?

        2. Study the scene structure and pacing. Does it begin in a way that “grabs” you? Does it end in a way that lures you to read the next scene?

        3. Study the author’s wordsmithing. Are there words you are not familiar with? If so, highlight them and research their definition. How does the author’s word choice create tension? Strengthen mood and emotion? How does it develop characterization and paint the scene in your imagination?

        4. Study the rhythm. Read the book out loud. How do the words and dialogue flow? How are the sentences structured in a way that intensifies the mood of the scene?

        5. Study characterization. Does each character have their own unique personality, dialect, style, traits, etc.? How is this revealed in a way that shows rather than tells? How do the secondary characters contribute to the plot, and are they three-dimensional or cardboard characters?

        6. If you lose focus in the book, identify at which point your attention began to lack. Was it caused from a decrease in conflict/tension? Did it become too easy for the character to reach his/her goal? Or is it because the scenes were passive, written about the character’s day-to-day, dull life?

        7. If you love the book, identify why you can’t seem to put it down. Is it the writing style or the plot? Is it because the writing is concise and tight, or because suspense is woven into each scene?

        8. Study the emotion and humor. If the story makes you cry, take note of how the author tapped into your emotions. How was this emotion portrayed without “telling” or coming across as overly dramatic? If the story makes you laugh, take note of the kind of humor the author used and how they portrayed this without coming across as cheesy.

        9. Study the setting. Do you think it was well-developed and/or well-researched? Does it contribute to the mood of each scene? How did the author use sensory details to highlight unique features of the setting without interrupting the flow of the story?

        10. Study the theme. Do you have an idea as to what the theme is by the end of the book? If so, how did the author get this across without “preaching” to the reader? Or if it did come across as preachy, how could the author have subtly woven in the theme instead?

It might take longer to read a book if you study it through the eyes of a writer rather than a reader. But if you do this — if you dissect books as you read them and highlight passages when necessary — then this should result in a major improvement in your own writing.

“To succeed as a novelist, reading novels must be a priority. Don’t be afraid. You won’t lose your voice; you will only enhance it. And soon, students will be using your novels as their textbooks.”

~Linda Hall

[bctt tweet=”10 Tips for Reading Through the Eyes of a Writer @tessaemilyhall #amwriting #writingtips”]

[bctt tweet=”Can our writing improve by studying the books we read? @tessaemilyhall #writingtips #amwriting”]

Do you read books through the eyes of a writer? If so, how has it made a difference in your writing?

Categories
Dear Young Scribes

5 Common Writing Mistakes by Teen Writers

[bctt tweet=”#TeenWriters: To avoid weak writing, check your book for these common mistakes #writingtips@tessaemilyhall “]

Teen writers: You’re entering an industry filled with experienced writers—people who have been on this journey for decades.

If you want to avoid coming across as an amateur, check your manuscript for these 5 common mistakes made by teen writers:

      1. Not enough sensory details

When I write a first draft, I focus on the dialogue and action, recording the “movie” as it plays in my mind. Thus, my first draft is really my book’s skeleton.

As a beginning teen writer, I neglected to breathe life into my scenes by incorporating the five senses. During my rewrites of Purple Moon, I printed out the entire manuscript, then highlighted the areas that could use sensory details.

Sensory details are important because . . .

– They keep readers grounded in a scene

– They allow readers to experience the journey along with the protagonist

– They “fool” the reader into believing the story is real

– They add color to the black-and-white pages of a manuscript

      2. “Telling” instead of “showing”

Readers don’t want to be told a story; they want to live a story. Authors should convince the reader they are the main character. (Sounds schizophrenic, doesn’t it?)

For instance:

Rachel was embarrassed because a group of girls starred at her.

Can you feel Rachel’s embarrassment, see the group of girls, or understand why she was embarrassed? Not at all.

Rewrite it in a way that brings the reader into the scene:

Heat flooded Rachel’s cheeks. A group of girls huddled next to the lockers, whispering and snickering, their eyes burning holes through Rachel. What was she thinking? Rachel knew she shouldn’t have worn the Christmas sweater Grandmother bought her. 

Notice I didn’t name the emotion in that version, yet it’s obvious Rachel is embarrassed, and we know why she is, too.

When it comes to showing vs. telling, ask yourself . . .

– Why does my character feel this emotion?

– What does she see? Hear? Taste? Smell? Feel?

– What is her physical response or body language?

– What is her thought process?

Don’t tell the reader what happens; let them experience it.

      3. Overuse of exclamation marks

She couldn’t believe her eyes!

What do I do!

Overuse of exclamation marks scream amateur! That’s because they drain power of what is being emphasized. It’s as if the author is trying to tell the reader, this is how she’s thinking it! Or, this is how extreme the action is!

In other words: They tell rather than show.

Plus, they are awfully distracting. It reminds the reader that the story isn’t real.

Instead, show the emphasis through body language, action, emotions, etc. Allow the reader to catch onto the exclamation without having to be told what is being exclaimed.

      4. Lacking story-structure

Since my stories are character-focused, I used to write scenes that weren’t related to the story’s plot. Sure, these scenes could have actually occurred in my main character’s day-to-day life, but they didn’t push the story forward or deepen characterization.   

Every book needs to have story-structure, and every scene needs to directly relate with that structure.

Think of your book like a movie. Then, go back and cut any scene that slows down the pace.

Ask yourself: What is the purpose of this scene? Does it push the story forward?

      5. Overuse of adverbs and adjectives

In elementary school, I was taught to incorporate as many adjectives and adverbs into my stories as possible.

My writing sounded like this:

The big, fat, yellow sun shined brightly against the light blue sky.

Colorful, isn’t it? And yet, sometimes those colors are the very things that distract the reader from the story. My agent puts it this way: “…too much description makes the colors all bleed together.”

Nowadays, adjectives and adverbs are lazy. They tell the action, emotion, scenery, etc. instead of allowing the reader to experience it.

But didn’t books use adverbs and adjectives in the old days?

Yes. But we’re not still making black and white movies anymore, are we? We’ve improved our technology and have discovered new—better—ways of capturing film.

Same with books. We’ve discovered ways to write that invite the reader to delve deeper into the story.

Just like exclamation points, overusing adverbs and adjectives are a form of telling rather than showing.

Replace them with strong verbs and nouns. This will help the reader picture the scene for themselves rather than be told how to picture it.

For instance:

She quickly ran up the stairs.

This tells us how she ran up the steps. Replace it with a strong verb, such as:

She hurried up the stairs.

She rushed up the stairs.

The adverb isn’t necessary in those sentences. Plus, the verbs convey a much stronger sense of action, don’t you think?

Which of these mistakes are hardest for you to overcome? Any you’d like to add to this list?

[bctt tweet=”5 Common Writing Mistakes by #TeenWriters @tessaemilyhall #writingtips #amwriting”]

Categories
Editing The Critical Reader

Why Did My Favorite Character Have to Die?

Death of a Favorite Character

by Alycia W. Morales

When I started reading the Divergent series by Veronica Roth, friends were conflicted over the ending of the final book in the series, Allegiant. Some said to read Divergent and Insurgent and stop there, as their disappointment with the third book was great.

How dare she kill that character?[bctt tweet=”Why would an author kill a reader’s favorite character? #amreading #amwriting”]

A character everyone – obviously – loved.

Here are three reasons I could see why Ms. Roth killed off her character:

1. Someone had to die an unselfish death in order to preserve the lives of those around them. To give those left behind a better future – a hopeful one.

2. The ending for the other main character would not have been the same had the other character lived.

3. There was no riding-off-into-the-sunset-happily-ever-after alternative ending for this series. At least not that I could see.

If you’ve been a writer for more than … oh … a few months, you’ve heard that every now and then someone must die. It’s what gets you out of a writing rut. It’s what moves the story forward. It’s what gets the action going again.[bctt tweet=”#Writers, sometimes you need to kill your favorite characters. “]

And if you’ve read enough books, you already know that not every story has a happy ending. Life doesn’t. Why should every book? Yes, happy endings are nice. Yes, we want to see the bad guy die and the good guy survive, but sometimes the good guy has to die in order for the bad guy to get the appropriate judgment.

At least in the case of Allegiant, the death leaves us with a satisfying ending. It would absolutely have driven me crazy if the ending had been stilted or left hanging. I applaud Ms. Roth for leaving me in tears but with the knowledge that it was worth every word.

So, Writer, is there a character in your novel that needs to die? Could you twist your ending in such a way that your readers mourn the loss of their favorite character yet recognize the deep need for someone so brave and selfless to die?

 

Categories
Editing The Critical Reader

Can a Novel’s Setting Come to Life?

A Desert Setting

by Alycia W. Morales

Have you ever been reading a novel when it suddenly dawns on you that the setting has become like a character in the book?

As I got into Aaron Gansky’s novel, The Bargain, I couldn’t help but notice how important the setting was. It’s the first time I’ve read a book and the setting has jumped off the page at me as if it had come to life.[bctt tweet=”Have you ever read a novel where the setting came to life? #amreading #amwriting”]

A brief description of the novel:

Connor Reedly is a journalist whose wife is dying. She has chosen to go to her sister’s home in a small desert town named Hailey. It’s there Connor is approached by a local citizen and told he must write ten articles or his wife will die and Hailey will be destroyed. He’s challenged with finding the good in a not-so-good place.

Five reasons why I believe Aaron nailed the setting:

1. It matched the theme of his story. Between Connor’s dying wife and the dying town, the image of death a desert brings to mind fits perfectly.

2. It reflected the lives of the local citizens (secondary characters). Then there’s the challenge of finding good people in the midst of an evil society and secondary character motivation. What setting could be more challenging than the desert? (Maybe the ocean, but it wouldn’t have worked as well in this story.)

3. It mirrored the protagonist’s career. As a journalist, Connor had to dig to find the truth in matters. There is plenty of sand to dig through in a desert.

4. It even resembled the antagonist. Connor’s story involves a lot of pressure from an outside source. The heat of that pressure is well-matched by the heat of the desert.

5. It represented the protagonist’s character arc. Connor had to make more than one life-changing decisions throughout the novel. Think “Refiner’s Fire.”[bctt tweet=”The setting of your novel can make a huge difference in your story if you choose the right one. #writing”]

So, Writer, think about the novel you’re writing right now. Is there a particular setting that would match the theme of your story? Would a different setting better amplify the things your character is going to suffer through or experience during their arc? Consider alternate settings for your novel and see if one may be better than the one you’re using now.