I am excited to post — with permission, of course — an article that Mary Deal has put together with her perspective on foreshadowing. I told her when she sent me the article that I love this particular literary device, and I’m pretty good at spotting it when I read. Because I can spot it so well, when I write my own stories, I try to use it with great subtlety. In fact, I like to sprinkle foreshadowing dust in my books, and then pull the foreshadowed hints together like a bunch of threads at the climax to the story. Read More
Tag Archives: line
MA: Today’s guest is Larry Moniz, an award-winning author, journalist, and publicist. His background is so varied, that I’m going to let him tell us all about it.
LM: I’m a seasoned journalist and publicist transitioning to fiction writing.
I have 14 years experience as a senior public relations executive in the development and implementation of successful, goal-oriented communications and marketing support programs for major national corporations. I wrote the first public relations program for Coleco’s Cabbage Patch Kids and that program subsequently won the Silver Anvil Award from the Public Relations Society of America. The Silver Anvil is recognized as the most prestigious award in public relations.
My public relations skills are augmented by being an experienced journalist and winner of 12-business writing awards for articles in 2000 through 2003 competitions. I was the founding editor of a highly successful new weekly newspaper, building from inception “the best newspaper to cover West Milford since the 1960’s” according to one long-time resident.
I also have 12-years prior experience as a skilled radio and daily newspaper editor and reporter for major media outlets in New Jersey, New England and Europe. I also published and edited a weekly newspaper serving Northern Ocean and Southern Monmouth Counties. Unlike many weeklies, this newspaper, The Progress, concentrated on real news, and regularly scooped far-larger dailies and weeklies with news events in the towns we serviced.
My experience also includes nearly five years as a crime and courts reporter and being a full-time sheriff’s deputy, thereby bringing a depth of firsthand knowledge about crime and law enforcement possessed by few other writers.
MA: Tell us about that transition to fiction.
LM: I’ve been an avid book reader since I was a child and always fascinated by words. I’ve been a journalist and writer for more than 45 years. Disabled due to COPD stemming from undiagnosed asthma and hence hard to hold down a full-time job, books were the logical alternative for me to keep busy and hopefully earn a living.
MA: Did your professional career inspire your writing?
LM: Yes, my career as a journalist and publisher set the stage for my creating the Inside Story: Murder in the Pinelands investigative team to investigate major crimes.
MA: Are any of your characters based upon real-life people with whom you’ve interacted?
LM: The dead sailor found in the pinelands was based on a similar situation I covered in another state. Like one of the first cops on the scene, I didn’t believe the crime was a suicide because witnesses saw him walking without a rifle yet he died before he could reach and get his rifle, the weapon that killed him. Using that isolated incident I built up a plausible story line that would explain things that were known and much else that was secret.
As to other characters, if I were a newspaper publisher today I would be very like Manny Bettencourt, publisher of Inside Story.
Murder in the Pinelands is the first in a planned police procedural series dealing with the way different ensemble members encounter various criminal, corruption and other illicit activities and bring the perpetrators to the bar of justice.
MA: How did you develop the character of your protagonist?
LM: My investigative team is loosely based on law enforcement personnel I’m met over the years. The protagonist just sprang from my brain. He and his wife were just there one day, begging to be transcribed.
My hero’s greatest strength is his conviction that his take on the sailor’s death is correct. His weakness is that the conviction becomes a compulsion that keeps him awake at night and unable to concentrate on his daytime job as a police sergeant and SWAT team leader. The stress leads to his making a mistake and his patrol partner nearly dies in a shootout with bank robbers.
MA: Do you have just one antagonist or several?
LM: Actually, there are a couple. As the book evolves, they begin to seek a shadow figure, an assassin from Saddam Hussein’s regime sent to this country to avenge the death of Saddam’s kin by this Navy sailor.
But no one can find this shadow figure until investigation in several states leads to positive proof the man exists and he’s been hiding in the U.S. with political support from entrenched Washington politicians.
MA: Did any of your real-life experiences factor in to the plot at all?
LM: Yes. I was at the suicide previously described. I also have covered politics and cover-ups for many years. Like the reporting team, I also have prior law enforcement experience as a sworn deputy sheriff.
MA: So what will be next on your fiction plate?
LM: I’m putting finishing touches to a resurrected novel involving time travel into the past by two former military special operatives endeavoring to head off the kidnapping of Thomas Jefferson before he can complete the Declaration of Independence.
I also am working on an outline for a 1930s era detective novel in which millions of dollars and an entire railroad train vanish.
MA: Oh my! They both sound interesting. Please visit Larry’s website for more information about him and his stories: http://www.larrymoniz.org/ Read More
Help with Loglines
When promoting your books, you will need to create a Logline. Specifically, that is 25 – 50 words that describe your story without giving away the ending.
A logline describes the main thread of the story action. It does not include anything happening in the subplots. Your main character carries the main story line; any subplots feed into and enhance the main character and story line.
Depending where you promote, some logline requirements can be as brief a 5 words, or 10 words.
This is great practice for writing lean.
The way to cut the verbiage down to logline potential is to write your description. You may use your brief synopsis instead. When you have a sense of the detail that you convey in that bit of writing, see how much you can cut. Keep in mind the overall meaning of your story. Once cut, anything left should relate to the main story line.
When cutting, keep whittling till you’ve got your descriptions down to several different lengths. You will use different lengths occasionally.
Something to help you is a site I found that will tell you whether you’ve written a statement that delivers impact. Once you have your loglines completed, enter them on this site and see how you fare.
The words you use are important. You will need words that carry a lot of impact. Once you receive your rating, it may also help you to see how you might improve your logline.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More
MA: I’m real excited to have as my guest today, Ronnie Dauber. Ronnie is a published author and freelance writer. Her young adult adventure book, Mudslide, is the first in the Survival Series, and was published in September of 2009. She is currently writing the second book in the series called Fire Storm and hopes to have it published by the summer of 2011. She wrote her first adult suspense/thriller called Web Secrets and it was published in January of 2011, and has a second thriller started that she will finish when her series is completed. As well, she has written and published over 1,000 articles on line for several well-known information sites. Ronnie holds college diplomas in Business Administration and Common Law, and in Children’s and Adults’ literature, and is a certified court reporter.
Tell me about your journey into writing.
RD: I’ve had a passion to write poetry and stories since I was a child. In fact, I earned my first poetry award at age 12 in a regional contest about President Kennedy, and since then I’ve just kept on writing. After raising my seven kids, I returned to college for two years and then enjoyed a legal career as a court reporter for several years until I was forced to retire early to due injuries sustained in a car accident. That’s when I decided it was perhaps time to master my writing skills, so I returned to college and earned diplomas in literature. And it was through these courses that I regained my desire to do what I’ve always wanted to do, and that is to write books.
MA: I can see the passion has been there for a long time! What brought you to writing novels?
RD: I write novels for three reasons. The first is because I believe that people, and especially children, need to learn the value of reading books. It develops their comprehension skills, exercises their brain, encourages their own imagination and allows them to live outside of technology, and so I want to help encourage them to read. The second reason is that I love to live the adventures that I write about. My y/a series does have some of my own experiences as well as those of my children, along with a lot of imagination. I like to write stories that keep the reader glued to the book. The third reason is because I realize that there are a lot of bad-influence books on the market today and that includes young adult books that are loaded with profanity and sexual content and void of morality and respect. I believe that books can be interesting and exciting and can captivate the reader without lowering the moral standards to what teens today feel is the norm. I want them to read books that will hold their interest, that involve things they are familiar with and yet at the same time, will help raise their own standards of life.
MA: Those are all great reasons. Tell us about your most recent novel.
RD: My latest novel is an adult suspense/thriller called Web Secrets. It’s about Madison Richards who is a young woman, insecure and dependent on her husband and friends to carry her through life’s many hurdles. When a personal issue causes her to investigate the circumstances, she begins to lose her family members and friends one at a time and finds herself being slowly drawn into a web of lies and deceit. She’s left with only one friend in cyberspace for moral support and friendship, and then as things seem as though they can’t get any worse, she discovers that she’s the target of a psychopath killer.
MA: Wow! That sounds pretty intense. Where did you come up with the idea for Madison?
RD: I got the idea for the character of Madison from the character qualities of a nurse on the television series, ER. Her actions and reactions and dependency on others made the ideal characteristics for my protagonist, and so I created Madison.
MA: She sounds like an intriguing heroine. Tell us more about her.
RD: My heroine’s most notable strength is her desire to take charge of her life, but fear has always kept her from trying. And it’s this desire in her that gives her the strength and the innocence to do the things she does to get to the bottom of her issues when there is no one to turn to for help. Her weakness is that she too easily falls into the guilt mode instead of accepting that things aren’t always her fault, and this is what has kept her from making positive decisions throughout her life.
MA: And what about the antagonist? I assume you have a pretty sinister one with a plotline like you described.
RD: There is an unknown antagonist that challenges Madison’s life and as things go from bad to worse, she must find out who this antagonist is and why this person is stalking her. Names are not revealed and the reader learns along with Madison as the story unwinds.
MA: I almost hate to find out of you’ve had any real life experiences that influenced your writing!
RD: I would have to say that this entire book comes from my imagination and that I never experienced any of the events that my protagonist experienced. However, my y/a adventure series does include some of my personal experiences.
MA: That’s good to hear! So what are you working on now?
RD: I have published the first book, Mudslide, to my y/a adventure series, and I’m currently finishing the second book to the series called Fire Storm. I have three other books to this series in my head waiting to get onto paper so I’m hoping to have them all finished by next year. As well, I have another adult thriller, Providence, that I’ve written the first four chapters to and that I want to get finished sometime next year.
MA: Will we find Madison or any other characters from Web Secrets in your future writing?
RD: That’s an interesting question and one that several people have asked me. I won’t give away the story, but some people who have read Web Secrets have given me suggestions of how Madison’s character as well as one other character could continue in future books. There is a possibility that they may have other adventures down the road.
MA: Well, we’ll all just have to wait and see! Anything else you’d like to leave my readers with?
RD: I realize that my books share two genres, that being y/a outdoor adventure and adult suspense/thriller. I enjoy writing both and I get totally caught up in writing both, as well. I’ve heard it said that writers find their particular writing niche once they’ve written in a couple of genres. I’m guess I’m not there yet because I have at least three more stories that I’m excited to write to the y/a Survival Series, and with years of movies and library books filtering through my thoughts, I also have several adult suspense stories just waiting to show themselves.
MA: Ronnie, thanks much for appearing on my blog today. I encourage my readers to learn more about Ronnie Dauber and her books. Be sure to visit her website for more details: Ronnie Dauber.
Become an Actor
Quite often, I hear people say that they have a lot of difficulty when writing dialogue. Here are some tips for improving dialogue and making it a snap to write:
1) Know the character you have established.
* Is your character male or female?
* In what time period is your setting?
* Is your character laid back or a Type A personality who’s always jittery?
* What is your character’s purpose in the story?
2) Assuming you know the above facts about your character, they can only speak one way.
* Write a line of dialogue.
* Then stand in front of a mirror and become an actor.
* Put yourself in that character’s mind.
* Be the character.
* Speak the line.
* Gesture when you speak.
* Use facial gestures.
* Try speaking the dialogue in difference accents or drawls.
* You already know the basics of your character and the particular scenes, so you won’t find too many ways he or she can speak.
3) As you speak, try changing the words of the sentence of dialogue.
* Try saying the same thing in a different way.
4) Act out the characters parts.
* Be one or more characters interchangeably.
* Interact and speak the lines of each.
* Your mind will automatically “round out” what is needed.
* You may decide instead of a character with stilted language, he or she becomes relaxed and easy going.
* Each state of mind produces different ways of speaking.
You may find that your character also changes in personality. Be careful here. If you’ve completed your story and then change a character’s mannerisms, which may affect personality, you may need to make a sweep through the entire story to bring that character in line with the new image you’ve created. But if that’s what it takes to make your story hum, you do it.
Chances are, you won’t make sweeping changes with this technique unless they are needed. You will simply find new ways to put some zing into the dialogue.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More
MA: Today I am pleased to welcome back not only a veteran guest-blogger, but the first author who appeared as a guest when I launched my blog two years ago. John Wills “guested” with me back in November 2009, and you can go back and read that original interview here: Fellow Writer John Wills is Mike Angley’s First Guest-Blogger! John and I are fellow, former law enforcement officers, and it was through this affiliation (and via a website called PoliceLink) that we met and networked to join the same publishing house a few years ago. John, welcome back! Please tell us about your law enforcement career because I know it has shaped your life and it has informed your writing.
JW: I spent 33 years in law enforcement, including the Chicago Police Department and FBI. That background was a natural springboard for me to write about what I had been doing most of my life. As an FBI agent, much of your time is spent writing things such as affidavits for search and arrest warrants, interviews with witnesses and informants, etc. The problem is that once you’ve created a document it has to go up the line for approval, sometimes all the way to FBI headquarters. By the time it returns to you it hardly resembles your first draft. Once I retired I felt the bonds of oversight were severed and I was free to create whatever I wanted. One caveat . . . if a former agent writes a book, the manuscript must first be approved by the FBI. Why? The Bureau must ensure that no active cases are being written about and no covert techniques or national security issues are compromised.
MA: With such a broad LE background, you must have had a lot of experiences to draw from in crafting your fiction, right?
JW: I had thousands of stories knocking around inside my brain from my time on Chicago PD as well as with the FBI. I began writing professionally as soon as I retired, confining myself to articles on officer survival, firearms, ethics, and training. To date, I’ve had more than 100 articles published on sites such as Officer.com and LawOfficer.com, as well as several print magazines. But those articles were non-fiction; I was interested in telling some stories and giving them a twist that would engage the reader emotionally.
MA: I’ve read your first two books which I thoroughly loved, tell my readers about the series itself.
JW: I created a fictional series, The Chicago Warriors™ Thriller Series, in which two Chicago Police detectives investigate not only the violent crimes they are assigned, but often times the political machine that is part and parcel of Chicago. The books are part of the mystery/thriller genre, but with a twist. Both characters rely on their faith to see them through the challenges that big city police work presents.
MA: Now, you don’t have a single protagonist in your stories, rather, you have two. Tell us about them.
JW: The male protagonist, Pete Shannon, is an amalgamation of several cops and agents I’ve worked with through the years. The female detective, Marilyn Benson, is based on a real FBI agent who I helped train in my years at the FBI Academy. I’ve also continued to mentor her since she is still an active FBI agent. Both characters are very strong, tactically. I’ve ensured they utilize the proper firearms and street survival tactics. I think it’s important to be correct in describing police work of any kind to ensure authenticity and credibility. In terms of their weakness . . . they are both heavily invested in personal relationships, including friendships. This sometimes has a pejorative influence on how they react to certain situations.
MA: And what about antagonists?
JW: Each book in the series has its own unique bad guy, including bad cop(s). That’s how I bring a fresh perspective to each story and create a bad guy that my readers have to flesh out as the story progresses.
MA: I know from your real police work that you were involved in a whole lot of action, so how did that makes its way into your stories?
JW: Yes, I’ve been involved in several shootings, been involved in SWAT operations, execution of search and arrest warrants, and of course, experienced many of the challenges in my own life that I transfer onto my protagonists.
MA: You have a new release in the series, so please tell us about that and what else you are working on.
JW: I continue to freelance, writing articles for magazines and websites. I’ve written several award winning short stories and have had others printed in several anthologies. I’ve also contributed several stories to a daily police devotional entitled, Cops on The Street, which was released in December.
I am working on a new novel, non-fiction, entitled, Women Warriors: Stories from the Thin Blue Line. The book will be a collection of true stories, written by the women who’ve lived them. I include not only female police officers, but also corrections, dispatchers, chaplains, and prosecutors. If any of your readers know of a woman who might like to share their story in the book, which will be released sometime this fall, please direct them to my website; http://johnmwills.com/
In my latest release, TARGETED, I’ve brought the FBI into the story which may allow me to take a totally different direction in future novels.
All of my books are also available in eBook format on both Kindle and Nook.
MA: John, thanks again for coming back to my website. I wish you well with the new release and with all your writing endeavors.
Years ago, I took a couple of weeks of oil painting lessons. The instructor, a world-renown artist, always said that I worked from the subconscious.
That was a compliment because she always said it in the same breath when saying I had talent. But after a while, she would pick up a brush, dip it into a color I wouldn’t think of using, and commence to leave her telltale marks on my painting.
I never understood how she could compliment me and then enhance my work with her touches and still call it my art. Soon, I left her and went on to produce paintings that sold in spite of the lack of professional input.
Yet, after all these years, her words about working from the subconscious stuck with me.
In recent times, as a writer instead of a painter, I hear writers being told to write from the subconscious. Sometime during the last two decades that I’ve written seriously, I’ve come to fully understand the meaning of that advice.
When I write, I type as fast as I can to keep up with my thoughts. I ignore any mistakes. Hand writing is much too slow for me. Those little squiggly red or green lines that pop up under words and incorrect punctuation drive me nuts, but I’ve learned to live with them because they help in the editing phase later. I just wanted to get my words and concepts committed, but it wasn’t always like that.
Several times, I also tried to create by slowing down and perfecting every paragraph, every sentence and every word before going on to the next.
Writing this way seemed very cumbersome. It stops my creative flow. If I must censure everything that comes out of my mind – correct it before I actually get the complete idea or premise written – it seems my creativity is put on hold while I detour to perfect only a portion of an idea. The whole scene needs to be gotten out of my mind so I can see it written and relate any changes to the whole.
When I know my story, even have a chapter or paragraph firmly fixed in my mind, my thoughts sometimes wander. When I look again at the screen and read what I produced, I find myself asking, “Did I write that?”
To write this way is to allow my mind to free-flow. This method allows creativity to create, without censure. This is what writing from the subconscious is all about. After all, it is the conscious mind, the left-brain that censures, edits, tears apart and reforms what it thinks we should write to suit some future reader or publisher. Creativity, from the right-brain, never cares about those aspects. It just wants to kick out the important details, the major threads, while they are hot and felt in all their strength and emotion. Once the story is written to first draft, creativity is free to do the one and only thing it should, and that is to conjure another scene, maybe another story. The conscious left-brain then perfects the written piece.
You may be one of those people who need to perfect one line before going on to the next. This may be where your strength lies, but it is all left-brain work, logical and, to me, requires little of the creative Muse.
If you wish to put your Muse to work, try it sometime. Just sit and write your story without looking at what you’ve written. If you must keep your gaze on the keyboard (I have to watch my hands a lot), then do so. You’ll find your story flowing faster than you can keep up with. Or should I say you’ll find yourself writing as fast as your mind can think. Editing after the fact is not bad at all when the whole idea smiles back at you from the monitor screen.
Writing from the subconscious definitely gives full rein to creativity to get the story out, and can cut down on unnecessary rewriting of any work you thought you had already laboriously perfected.
Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre.
MA: My guest today is Steven Jay Griffel. Steven was born in the Bronx, 1952. He tells me he, “met a beautiful blue-eyed art student in my junior year at Queens College (BA, Creative Writing, 1973) and married her in 1976. We’re still holding hands.” Steven studied American Literature at Fordham University, and he and his wife have two beautiful daughters, Sarah and Julia, grown and on their own. He spent his professional life in publishing, and he still works as a publishing consultant, though most of his time is now spent writing novels and talking about them. Steven is a frequent speaker and guest lecturer and especially enjoys leading book club discussions about his novel, Forty Years Later.
You told me you thought writing was a part of your DNA. How did you describe that, again?
SJG: I’m a born storyteller: sired by a father who never met a fact he couldn’t spin into fancy, and by a mother whose bitchin’ neuroses could make a grudge match of any relationship. From my father I learned there is no division between truth and fancy, just a wonderful gray area where imagination and ego could thrive. From my mother I inherited a genius for nursing regrets and grudges, so I’m never at a loss for reasons to rant.
I was raised on the colorful streets of the Bronx, where home plate was a manhole cover; where there was a pizzeria and deli on every other block; where there were always enough kids for a ball game; where it was okay to be Jewish, so long as you didn’t piss off those who weren’t.
MA: Well, that’s a colorful life! How did you decide to write novels? Was it always something you longed to do?
SJG: I wasn’t cut out to be a scientist or movie star or athlete. But I always had lots to say—and a talent for saying it well. In college I considered a career in journalism—until I learned I’d have to stick to the facts. I like facts, but I much prefer the novelist’s god-like sense of entitlement. As a novelist I decide the facts. I decide who rises, who falls. If I need a perfect line I create it, rather than relying on interviews and research for my gold. Thus I prefer fiction, where the music and meaning of words have primacy over facts. . . . I just remembered a pair of wonderfully relevant quotes:
“Journalism is literature in a hurry.” –Matthew Arnold
“Literature is news that stays news.” –Ezra Pound
I like to think that my writing is meant for the long haul.
MA: Well said! So tell us about Forty Years Later.
SJG: A middle-aged man (smart, handsome, happy, successful) has a single, gnawing regret: a lost opportunity to make history. He has kept the regret alive for forty years, continually picking at the scab of its memory. A coincidence (Fate, if you believe in such things) reunites this man with a former teen sweetheart who is very much a part of his regret. The man is married with children, the woman is famously and formerly gay, and their reunion results in the kind of sparks that presage trouble. It is a tale of music, movies, murder—and madness too. It is also a story of love and redemption—except for those who are probably going to Hell.
MA: Oh my! So had did you develop your protagonist’s character? Sounds like there may be a little of you in him…
SJG: Until recently, I too had a gnawing, life-long regret. Like a cancer that does not metastasize, it was annoying but not life-threatening. A complicated coincidence reconnected me with someone I hadn’t seen in forty years: a successful screenwriter who is best known for writing about the subject that framed my regret: Woodstock. We met and hit it off—big time. Of course, I was happily married with children and wouldn’t think of getting involved with another woman—but I have a protagonist; an alter-ego; a doppelganger, I suppose, and this fellow (named David Grossman) has been known to explore roads I dare not travel myself.
MA: So, what are David’s strengths and weaknesses?
SJG: Like many people, the novel’s protagonist is a miracle of contradictions. He is clear-seeing despite his blind spots; confident when not suffering from crises of self-esteem. He is a man who misplaces loyalties and manufactures jealousies. He loves and is loved but sometimes loses his way. All of which is to say, he’s flawed enough to get himself into a royal pickle—and brave enough to see his way out.
MA: What about an antagonist … is there a unique “bad guy” or a recurring nemesis of any kind?
SJG: There is a brilliant, formerly famous lesbian screenwriter with a blind lover and hip-hop son, who becomes a vengeful alcoholic with a particular fondness for dangerously sharp objects. Unique enough?
MA: (Smiling) Okay, so did any of your real-life experiences factor into the plot at all?
SJG: I also nurtured a life-long regret tied to someone I had not seen in forty years. We were reunited. Sparks flew. . . . Note: The real-life tale is private and tame and not worth the telling in this space. However, the novel it inspired is rip-roarin’. But it is not a story for the faint of heart or for those of unbending scruples. It is tale signifying: One is never too old to change; Beware what you wish for; There is no greater grace than tried and true love.
MA: Excellent! So what’s next for you?
SJG: I am working on a new novel called The Ex-Convert. It is, loosely speaking, a sequel to Forty Years Later. Though I am now in the enviable position of having a publisher waiting for my next book, I have no guarantee of publication. My publisher believes I hit a home run with Forty Years Later and demands I hit another one with The Ex-Convert. Batter up!
MA: An enviable position to be in…so will any characters from Forty Years Later migrate over?
SJG: David Grossman is the protagonist in each of my novels, and I haven’t sworn off him yet. Having said that, he is not quite the same character in each book. His voice and sensibility are pretty consistent, but his circumstances vary: he has a wife or not; he has a family or not; he lives in New York, or not, etc. Expect to see him again in the Ex-Convert.
MA: How do readers get a copy of your book?
SJG: Forty Years Later is available as an e-book on Amazon.com. The download is incredibly fast and easy. And no special reading device is required. Most people enjoy Forty Years Later on their computer, PC or Mac. But with each passing day more and more people are using e-readers (like the Kindle) or tablets (like the iPad) or screen phones like the Android, Blackberry, or iPhone. In fact, one of my first readers sent me the following text message from his iPhone: “Reading Forty Years later at 40,000 feet—and loving it!” I also encourage readers to friend me on Facebook and share their thoughts. It’s a digital dawn!
MA: Well, thanks, Steven. Folks, please visit these websites for more information about Forty Years Later and Steven Jay Griffel!
The following tips are some that have been reconstructed from a handout I gave at one of my workshops for writers already far along in their manuscripts. On the registration form I asked what each attendee would most like to learn. Surprisingly, the frequently mentioned information pertained to feeling insecure about submitting once the manuscript was finished, and how would they know it was ready for submission.
In order to help avoid rejection of your manuscript, you need to think through what you’ve created. Start by analyzing these points before submitting.
Does your story start off strong enough to grab a potential reader’s attention?
Does your plot contain enough twists and turns to keep the reader from knowing the ending beforehand? Or is your story so predictable that it might be boring?
Does any possibility exist that you’ve created a story that creeps along, when it should fly and keep the reader turning pages?
Do you know the difference between a slow moving, arduous read and a story that moves like lightning where the reader has difficulty keeping their eyeballs in their sockets?
Have you included your own opinions in the plot sequences instead of allowing the scenes and characters to write themselves?
Are you preachy and trying to make a statement concerning something in which you believe and wish to share? Have no doubt. It is a definite turn-off and will show in your writing.
Have you developed your story to its fullest potential? If not, that would be the same as a detective having four clues and investigating only three. Whatever happens in your story, make sure you cover all aspects and possibilities of each scene.
What about your narrative voice? Is it different from your characters’ dialogues? Does it sound realistic or forced?
Always be careful of clichéd writing, and the use of stale jargon. Use only the most recent language of the time period of your plot that people in real life would use if they were your characters. To have a story taking place in present time, but using age-old language just doesn’t work. That’s unless the author shows that their particular story requires it.
Does each and every scene pull in the reader? Are the scenes developed so the reader knows when and where things happen and how the characters fit into that scene? In other words, have you written the scenes well enough so the reader will feel a part of it all and not know that they sit in a chair reading a book?
Do you have the appropriate beginning, middle and ending? As already stated, the beginning should grab the reader’s interest and make them want to keep reading. The middle may sag if you’ve simply tried to flesh out the story by adding inappropriate information that doesn’t feed into and forward the plot. The ending should be dramatic or contain the element of an Aha! experience. Whatever the experience, the reader must feel satisfaction for the characters when the story concludes.
Are your characters’ dialogues commensurate with the types of people you’ve created them to be? Do all your characters sound the same? Even if all your characters share the same backgrounds and social status, you must make each of them unique. One of the easiest places to accomplish this is through their dialogues.
As with the story line, the same applies to the characters. Are they lackluster predictable types?
Do your characters perform to the best of their abilities while moving through the plot? They can be demure to dastardly, but whatever they are, make them true to type and the best that they can be for the situation in which you’ve placed them.
Have you had your finished manuscript edited by a new set of eyes, preferably professional ones? A relative or friend critiquing your manuscript just isn’t enough – unless the person is an English teacher, perhaps.
Too, here’s something I do:
I have my final manuscript in one long file. I do a search for various important words that I may have used throughout the book. When I find too many of one word, I replace some of them with a different word or phrase with the same meaning. To read the same words too often begins to make the writing seem amateurish, as if the author had not seen the inside of a dictionary or thesaurus.
Lastly, these are some suggestions that should be thought through before submitting your work to agents or publishers. This information also applies to short story and novella writers, even some nonfiction. Much of this information may have crossed the mind of the writer way before getting to the end of the writing phase. In that case, that author is a huge step ahead and their manuscript will show it.
11 Must-haves for making Video Trailers
Video trailers help sell books. Just as a preview of a film or TV special can spark interest and make you impatient for the day you can see the show so, too, can trailers incite a potential reader’s interest.
If you are computer savvy, you will probably enjoy making your own trailer. If you are not knowledgeable in the way of putting written word, moving or still pictures and music together to make an exciting presentation, you should have the following items ready when you approach a professional to make the trailer for you.
1) Book title
2) Sub-title, if applicable
3) Name or pen name of the author(s)
Under this, you can include such phrases as “Award-winning novelist,” or
Author of ____(previous book title)_____
4) One or two brief blurbs from popular writers or well-known persons in the industry, if you have them.
5) A tagline: One sentence as brief as possible.
6) The story synopsis
7) 5 – 10 sentences that distill your story and/or synopsis without giving away the ending
This can be difficult. In order to distill, you need to keep your focus on your main
character and the main plot thread.
In my thriller, River Bones, I have a strong sub-plot about Vietnam MIAs which totally feeds into the main plot and that the story couldn’t be without. However, I never mentioned this sub-plot in any of the information used for the making of the trailer. See the trailer here (All four of my video trailers are on this page):
8) Places where the book can be purchased
9) A .jpeg image of your front cover. You will be told the size requirements.
10) You should plan to do a fairly thorough search for photos that fit your distilled description. If they do not match the description, they will make the trailer seems confusing to the viewer. For each line of description, try to find one or two good photos that represent that bit of information. You may not use all of the pictures but it will give your video maker a good selection from which to choose.
11) You can also do a search for music to accompany your video. Music, in my opinion, can make or break your project. Blazing Trailers, who made all my videos, found an exquisite bit of music by Kevin MacLeod for my novel, The Ka, that so fit the story that I can’t remember the music I originally suggested.
All of these items will be required in order to begin building your video. The maker will probably suggest other pictures that better suit the action. She or he may also suggest different music than you were able to find. Professionals have access to royalty free photos and music that writers may not. Your suggestions in all of this will guide them to find the best products that emphasize your vision of how your wish your story portrayed.
If the video maker makes suggestions, listen. Check out every detail they offer. Your suggestions of photos and music are just that. If they don’t fit, they give the video maker a good idea of what you hope to create. Having once read your synopsis and distillation into ten sentences, you will be told which sentences to use and which to omit. The maker may even reword your sentences to make them more exciting. That may also be required in order to overlay the words onto a picture.
As the process moves along….
The maker will send you a mock-up, like a first draft. You can change or correct anything. Make sure your verbiage is as exciting as possible. The pictures should be as close a representation to the story as possible, especially any characters. If your story is about a brunette, don’t use a picture of a blonde. The music should accentuate the action. Once you approve at this point, the video is made into its final format.
The finished presentation may start with your book cover, but not necessarily. With my novel The Tropics, the video starts with a sailboat way out in the middle of the blue ocean. This was to exemplify the feeling of aloneness.
From the order of information at the end of the trailer for my thriller, Down to the Needle:
~ The book cover, author name and Web site
~ A very brief one line blurb from a popular writer or other, if available.
~ A list of places where the book can be purchased
~ The logo of the person or company that created the video
~ A credit for the music composer
Having all of this information readily available before you seek someone to make your trailer will quickly speed things along and minimize time and expenses. You’ll have some changes along the way to tighten up the presentation but once finished, you should have an exciting clip.
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